section

アレクサンドロス石棺

The roof ridge of the Alexander Sarcophagus, made of two "massive blocks" of marble, The comparison between the mosaic and sarcophagus has gained traction in the scholarly field, supported by other scholars such as Andrew Stewart. Alexander is shown mounted, wearing a lion skin on his head, and preparing to throw a spear at the Persian cavalry. There remains debate surrounding the importance of the historicity of the figures seen in the hunting and battle scenes. While historians such as von Grave interpret them as accurate portrayals of historic figures, other historians like Schefold focus on them as mythic subjects of the battles and royal hunt. Some scholars, as well, believe that a second mounted Macedonian figure near the center represents Hephaestion, Alexander's older close friend. A third mounted Macedonian figure is often identified as Perdiccas, one of the generals in Alexander's army.The opposite long side shows Alexander, recognized as the "horseman at the center left," and the Macedonians hunting lions together with Abdalonymus and the Persians. Stewart has also presented that this may be an example of Alexander hunting in the Sidonian game park in 332 BC. This is a unique depiction of the Macedonians and Persians collaborating in the hunt. This is significant due to the fact that the scene on the opposite end has been largely interpreted as the Battle of Issus, which is broadly understood as a symbol of Macedonian defeat of the Persians.One of the short ends leads the eye towards the mythic lion hunt, portraying a scene in which Abdalonymus hunts a panther. On the other short end is a battle, perhaps the Battle of Gaza in 312 BC- if this is the case, the pediment above that end would be showing the murder of Perdiccas in 320 BC. It has been conjectured that Abdalonymus ultimately died in the Battle of Gaza, although this is unsubstantiated. If this is the case, however, then this pediment would be the depiction of his last moments in battle. The other pediment on the lid above shows Abdalonymus in an unidentified battle.

Prompt: アレクサンドロス石棺に焦点を当てて、その解釈を説明してください。英語で出力して下さい。

Abdalonymus
Battle of Issus
Hephaestion
Perdiccas
Sarcophagus
Sidon


section

アレクサンドロス石棺

The roof ridge of the Alexander Sarcophagus, made of two "massive blocks" of marble, The comparison between the mosaic and sarcophagus has gained traction in the scholarly field, supported by other scholars such as Andrew Stewart. Alexander is shown mounted, wearing a lion skin on his head, and preparing to throw a spear at the Persian cavalry. There remains debate surrounding the importance of the historicity of the figures seen in the hunting and battle scenes. While historians such as von Grave interpret them as accurate portrayals of historic figures, other historians like Schefold focus on them as mythic subjects of the battles and royal hunt. Some scholars, as well, believe that a second mounted Macedonian figure near the center represents Hephaestion, Alexander's older close friend. A third mounted Macedonian figure is often identified as Perdiccas, one of the generals in Alexander's army.The opposite long side shows Alexander, recognized as the "horseman at the center left," and the Macedonians hunting lions together with Abdalonymus and the Persians. Stewart has also presented that this may be an example of Alexander hunting in the Sidonian game park in 332 BC. This is a unique depiction of the Macedonians and Persians collaborating in the hunt. This is significant due to the fact that the scene on the opposite end has been largely interpreted as the Battle of Issus, which is broadly understood as a symbol of Macedonian defeat of the Persians.One of the short ends leads the eye towards the mythic lion hunt, portraying a scene in which Abdalonymus hunts a panther. On the other short end is a battle, perhaps the Battle of Gaza in 312 BC- if this is the case, the pediment above that end would be showing the murder of Perdiccas in 320 BC. It has been conjectured that Abdalonymus ultimately died in the Battle of Gaza, although this is unsubstantiated. If this is the case, however, then this pediment would be the depiction of his last moments in battle. The other pediment on the lid above shows Abdalonymus in an unidentified battle.

Prompt: アレクサンドロス石棺の解釈を説明してください。英語で出力して下さい。

Abdalonymus
Battle of Issus
Hephaestion
Perdiccas
Sarcophagus
Sidon


section

アレクサンドロス石棺

The roof ridge of the Alexander Sarcophagus, made of two "massive blocks" of marble, The comparison between the mosaic and sarcophagus has gained traction in the scholarly field, supported by other scholars such as Andrew Stewart. Alexander is shown mounted, wearing a lion skin on his head, and preparing to throw a spear at the Persian cavalry. There remains debate surrounding the importance of the historicity of the figures seen in the hunting and battle scenes. While historians such as von Grave interpret them as accurate portrayals of historic figures, other historians like Schefold focus on them as mythic subjects of the battles and royal hunt. Some scholars, as well, believe that a second mounted Macedonian figure near the center represents Hephaestion, Alexander's older close friend. A third mounted Macedonian figure is often identified as Perdiccas, one of the generals in Alexander's army.The opposite long side shows Alexander, recognized as the "horseman at the center left," and the Macedonians hunting lions together with Abdalonymus and the Persians. Stewart has also presented that this may be an example of Alexander hunting in the Sidonian game park in 332 BC. This is a unique depiction of the Macedonians and Persians collaborating in the hunt. This is significant due to the fact that the scene on the opposite end has been largely interpreted as the Battle of Issus, which is broadly understood as a symbol of Macedonian defeat of the Persians.One of the short ends leads the eye towards the mythic lion hunt, portraying a scene in which Abdalonymus hunts a panther. On the other short end is a battle, perhaps the Battle of Gaza in 312 BC- if this is the case, the pediment above that end would be showing the murder of Perdiccas in 320 BC. It has been conjectured that Abdalonymus ultimately died in the Battle of Gaza, although this is unsubstantiated. If this is the case, however, then this pediment would be the depiction of his last moments in battle. The other pediment on the lid above shows Abdalonymus in an unidentified battle.

Prompt: アレクサンドロス石棺はどのように解釈を説明していますか？英語で出力して下さい。

Abdalonymus
Battle of Issus
Hephaestion
Perdiccas
Sarcophagus
Sidon


section

アレクサンドロス石棺

The roof ridge of the Alexander Sarcophagus, made of two "massive blocks" of marble, The comparison between the mosaic and sarcophagus has gained traction in the scholarly field, supported by other scholars such as Andrew Stewart. Alexander is shown mounted, wearing a lion skin on his head, and preparing to throw a spear at the Persian cavalry. There remains debate surrounding the importance of the historicity of the figures seen in the hunting and battle scenes. While historians such as von Grave interpret them as accurate portrayals of historic figures, other historians like Schefold focus on them as mythic subjects of the battles and royal hunt. Some scholars, as well, believe that a second mounted Macedonian figure near the center represents Hephaestion, Alexander's older close friend. A third mounted Macedonian figure is often identified as Perdiccas, one of the generals in Alexander's army.The opposite long side shows Alexander, recognized as the "horseman at the center left," and the Macedonians hunting lions together with Abdalonymus and the Persians. Stewart has also presented that this may be an example of Alexander hunting in the Sidonian game park in 332 BC. This is a unique depiction of the Macedonians and Persians collaborating in the hunt. This is significant due to the fact that the scene on the opposite end has been largely interpreted as the Battle of Issus, which is broadly understood as a symbol of Macedonian defeat of the Persians.One of the short ends leads the eye towards the mythic lion hunt, portraying a scene in which Abdalonymus hunts a panther. On the other short end is a battle, perhaps the Battle of Gaza in 312 BC- if this is the case, the pediment above that end would be showing the murder of Perdiccas in 320 BC. It has been conjectured that Abdalonymus ultimately died in the Battle of Gaza, although this is unsubstantiated. If this is the case, however, then this pediment would be the depiction of his last moments in battle. The other pediment on the lid above shows Abdalonymus in an unidentified battle.

Prompt: アレクサンドロス石棺に関して、どのように解釈が議論されていますか？英語で出力して下さい。

Abdalonymus
Battle of Issus
Hephaestion
Perdiccas
Sarcophagus
Sidon


section

アレクサンドロス石棺

Tabnit sarcophagus Lycian sarcophagus of Sidon

Prompt: アレクサンドロス石棺に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Lycian sarcophagus of Sidon
Sidon
Tabnit sarcophagus


section

アレクサンドロス石棺

Tabnit sarcophagus Lycian sarcophagus of Sidon

Prompt: アレクサンドロス石棺の参照を説明してください。英語で出力して下さい。

Lycian sarcophagus of Sidon
Sidon
Tabnit sarcophagus


section

アレクサンドロス石棺

Tabnit sarcophagus Lycian sarcophagus of Sidon

Prompt: アレクサンドロス石棺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。

Lycian sarcophagus of Sidon
Sidon
Tabnit sarcophagus


section

アレクサンドロス石棺

Tabnit sarcophagus Lycian sarcophagus of Sidon

Prompt: アレクサンドロス石棺に関して、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。

Lycian sarcophagus of Sidon
Sidon
Tabnit sarcophagus


section

アレクサンドロス石棺

Heckel, Waldemar. "Mazaeus, Callisthenes and the Alexander Sarcophagus." Historia: Zeitschrift fur Alte Geschichte 55, 2006. Miller, Margaret C. Athens and Persia in the Fifth Century BC: A Study in Cultural Receptivity. Cambridge University Press, 2004. Palagia, Olga. Regional Schools in Hellenistic Sculpture. Oxbow Books, Limited, 1998. Sismondo Ridgway, Brunilde. "Review: Der Alexander-Sarkophag by Karl Schefold." American Journal of Archaeology 73, 1969. Stewart, Andrew. Faces of Power: Alexander's Image and Hellenistic Politics. Oxford, England: University of California Press, 1993. von Graeve, Volkmar. Der Alexandersarkophag und seine Werkstatt. Berlin, 1970.

Prompt: アレクサンドロス石棺に焦点を当てて、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

アレクサンドロス石棺

Heckel, Waldemar. "Mazaeus, Callisthenes and the Alexander Sarcophagus." Historia: Zeitschrift fur Alte Geschichte 55, 2006. Miller, Margaret C. Athens and Persia in the Fifth Century BC: A Study in Cultural Receptivity. Cambridge University Press, 2004. Palagia, Olga. Regional Schools in Hellenistic Sculpture. Oxbow Books, Limited, 1998. Sismondo Ridgway, Brunilde. "Review: Der Alexander-Sarkophag by Karl Schefold." American Journal of Archaeology 73, 1969. Stewart, Andrew. Faces of Power: Alexander's Image and Hellenistic Politics. Oxford, England: University of California Press, 1993. von Graeve, Volkmar. Der Alexandersarkophag und seine Werkstatt. Berlin, 1970.

Prompt: アレクサンドロス石棺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

アレクサンドロス石棺

Heckel, Waldemar. "Mazaeus, Callisthenes and the Alexander Sarcophagus." Historia: Zeitschrift fur Alte Geschichte 55, 2006. Miller, Margaret C. Athens and Persia in the Fifth Century BC: A Study in Cultural Receptivity. Cambridge University Press, 2004. Palagia, Olga. Regional Schools in Hellenistic Sculpture. Oxbow Books, Limited, 1998. Sismondo Ridgway, Brunilde. "Review: Der Alexander-Sarkophag by Karl Schefold." American Journal of Archaeology 73, 1969. Stewart, Andrew. Faces of Power: Alexander's Image and Hellenistic Politics. Oxford, England: University of California Press, 1993. von Graeve, Volkmar. Der Alexandersarkophag und seine Werkstatt. Berlin, 1970.

Prompt: アレクサンドロス石棺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

アレクサンドロス石棺

Heckel, Waldemar. "Mazaeus, Callisthenes and the Alexander Sarcophagus." Historia: Zeitschrift fur Alte Geschichte 55, 2006. Miller, Margaret C. Athens and Persia in the Fifth Century BC: A Study in Cultural Receptivity. Cambridge University Press, 2004. Palagia, Olga. Regional Schools in Hellenistic Sculpture. Oxbow Books, Limited, 1998. Sismondo Ridgway, Brunilde. "Review: Der Alexander-Sarkophag by Karl Schefold." American Journal of Archaeology 73, 1969. Stewart, Andrew. Faces of Power: Alexander's Image and Hellenistic Politics. Oxford, England: University of California Press, 1993. von Graeve, Volkmar. Der Alexandersarkophag und seine Werkstatt. Berlin, 1970.

Prompt: アレクサンドロス石棺に関して、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

アレクサンドロス石棺

The Alexander Sarcophagus was found in the Royal necropolis of Ayaa, a subterranean necropolis that was divided into two hypogea, an underground temple or tomb that consists of a series of rooms. It likely functioned as a royal necropolis, which also assists in supporting the scholarly debate regarding the possible patron of this sarcophagus.This sarcophagus in particular is one of four massive carved sarcophagi that formed two pairs. These pairs were discovered during the 1887 excavations conducted by Osman Hamdi Bey and Yervant Voskan at the necropolis near Sidon, Lebanon.

Prompt: アレクサンドロス石棺の文脈で、発見と歴史を説明してください。英語で出力して下さい。

Lebanon
Osman Hamdi Bey
Royal necropolis of Ayaa
Sarcophagus
Sidon
Yervant Voskan


subsection

アレクサンドロス石棺

The Alexander Sarcophagus was found in the Royal necropolis of Ayaa, a subterranean necropolis that was divided into two hypogea, an underground temple or tomb that consists of a series of rooms. It likely functioned as a royal necropolis, which also assists in supporting the scholarly debate regarding the possible patron of this sarcophagus.This sarcophagus in particular is one of four massive carved sarcophagi that formed two pairs. These pairs were discovered during the 1887 excavations conducted by Osman Hamdi Bey and Yervant Voskan at the necropolis near Sidon, Lebanon.

Prompt: アレクサンドロス石棺の歴史に関する発見を説明してください。英語で出力して下さい。

Lebanon
Osman Hamdi Bey
Royal necropolis of Ayaa
Sarcophagus
Sidon
Yervant Voskan


subsection

アレクサンドロス石棺

The Alexander Sarcophagus was found in the Royal necropolis of Ayaa, a subterranean necropolis that was divided into two hypogea, an underground temple or tomb that consists of a series of rooms. It likely functioned as a royal necropolis, which also assists in supporting the scholarly debate regarding the possible patron of this sarcophagus.This sarcophagus in particular is one of four massive carved sarcophagi that formed two pairs. These pairs were discovered during the 1887 excavations conducted by Osman Hamdi Bey and Yervant Voskan at the necropolis near Sidon, Lebanon.

Prompt: アレクサンドロス石棺では、どのように歴史の発見が説明されていますか？英語で出力して下さい。

Lebanon
Osman Hamdi Bey
Royal necropolis of Ayaa
Sarcophagus
Sidon
Yervant Voskan


subsection

アレクサンドロス石棺

The Alexander Sarcophagus was found in the Royal necropolis of Ayaa, a subterranean necropolis that was divided into two hypogea, an underground temple or tomb that consists of a series of rooms. It likely functioned as a royal necropolis, which also assists in supporting the scholarly debate regarding the possible patron of this sarcophagus.This sarcophagus in particular is one of four massive carved sarcophagi that formed two pairs. These pairs were discovered during the 1887 excavations conducted by Osman Hamdi Bey and Yervant Voskan at the necropolis near Sidon, Lebanon.

Prompt: アレクサンドロス石棺の歴史における発見の特徴を説明してください。英語で出力して下さい。

Lebanon
Osman Hamdi Bey
Royal necropolis of Ayaa
Sarcophagus
Sidon
Yervant Voskan


subsection

アレクサンドロス石棺

The Alexander Sarcophagus is constructed of Pentelic marble retaining traces of its polychromy, in the form of a Greek temple. Evidence of polychromy, referring to the colorful paintwork found on statuary , has been found on the sarcophagus, and would have actually been seen during the unearthing of the sarcophagus during its excavation in 1887. The Macedonian Greek warriors depicted on the sarcophagus are shown fighting in the nude, as was typical of Greek iconography. They were, however, painted, showing the colorful details of their skin tones, hair colors, helmets, and shields. The Persians these warriors fought against, on the other hand, were painted with bright, vibrant armor. The polychromy depicts the detailed patterns of their pants and skirts, as well as the intricate paint work done on their shields.

Prompt: アレクサンドロス石棺の文脈で、ポリクロミーと歴史を説明してください。英語で出力して下さい。


subsection

アレクサンドロス石棺

The Alexander Sarcophagus is constructed of Pentelic marble retaining traces of its polychromy, in the form of a Greek temple. Evidence of polychromy, referring to the colorful paintwork found on statuary , has been found on the sarcophagus, and would have actually been seen during the unearthing of the sarcophagus during its excavation in 1887. The Macedonian Greek warriors depicted on the sarcophagus are shown fighting in the nude, as was typical of Greek iconography. They were, however, painted, showing the colorful details of their skin tones, hair colors, helmets, and shields. The Persians these warriors fought against, on the other hand, were painted with bright, vibrant armor. The polychromy depicts the detailed patterns of their pants and skirts, as well as the intricate paint work done on their shields.

Prompt: アレクサンドロス石棺の歴史に関するポリクロミーを説明してください。英語で出力して下さい。


subsection

アレクサンドロス石棺

The Alexander Sarcophagus is constructed of Pentelic marble retaining traces of its polychromy, in the form of a Greek temple. Evidence of polychromy, referring to the colorful paintwork found on statuary , has been found on the sarcophagus, and would have actually been seen during the unearthing of the sarcophagus during its excavation in 1887. The Macedonian Greek warriors depicted on the sarcophagus are shown fighting in the nude, as was typical of Greek iconography. They were, however, painted, showing the colorful details of their skin tones, hair colors, helmets, and shields. The Persians these warriors fought against, on the other hand, were painted with bright, vibrant armor. The polychromy depicts the detailed patterns of their pants and skirts, as well as the intricate paint work done on their shields.

Prompt: アレクサンドロス石棺では、どのように歴史のポリクロミーが説明されていますか？英語で出力して下さい。


subsection

アレクサンドロス石棺

The Alexander Sarcophagus is constructed of Pentelic marble retaining traces of its polychromy, in the form of a Greek temple. Evidence of polychromy, referring to the colorful paintwork found on statuary , has been found on the sarcophagus, and would have actually been seen during the unearthing of the sarcophagus during its excavation in 1887. The Macedonian Greek warriors depicted on the sarcophagus are shown fighting in the nude, as was typical of Greek iconography. They were, however, painted, showing the colorful details of their skin tones, hair colors, helmets, and shields. The Persians these warriors fought against, on the other hand, were painted with bright, vibrant armor. The polychromy depicts the detailed patterns of their pants and skirts, as well as the intricate paint work done on their shields.

Prompt: アレクサンドロス石棺の歴史におけるポリクロミーの特徴を説明してください。英語で出力して下さい。


subsubsection

アレクサンドロス石棺

Although it has been widely accepted that this was not the actual sarcophagus of Alexander the Great himself from early on in its analysis, to have been the sarcophagus of Abdalonymus , the king of Sidon appointed by Alexander immediately following the Battle of Issus . Scholar Andrew Stewart asserts that the Alexander Sarcophagus was patronized by Abdalonymus for a number of reasons: mainly, for the reason that Near Eastern kings regularly commissioned their tombs ante-mortem in consideration of their "posthumous reputations." This is a commonly supported claim that has been continuously upheld by many scholars, but it has also been equally contested. For example, Waldemar Heckel argues that the sarcophagus was made for Mazaeus, a Persian noble and governor of Babylon. In order to support this assertion, Heckel questions why a sarcophagus for Abdalonymus, a king from Sidon, would feature so many Persian figures and iconographies, arguing that the dress, facial features, and activities of the central figure is more historically aligned with Persian rather than Phoenician nobility. The answer to this, according to Heckel, is that the relevance of these figures and iconographies would be more fitting for the Persian nobleman instead. In support, he theorizes that one of the side friezes depicts the Battle of Gaugamela in 331 BC, showing the strength of Mazaeus' military leadership in directing the Persian army.

Prompt: アレクサンドロス石棺の歴史に焦点を当てて、歴史についてのパトロンを説明してください。英語で出力して下さい。

Abdalonymus
Alexander the Great
Babylon
Battle of Gaugamela
Battle of Issus
Mazaeus
Near East
Phoenicia
Sarcophagus
Sidon
Waldemar Heckel


subsubsection

アレクサンドロス石棺

Although it has been widely accepted that this was not the actual sarcophagus of Alexander the Great himself from early on in its analysis, to have been the sarcophagus of Abdalonymus , the king of Sidon appointed by Alexander immediately following the Battle of Issus . Scholar Andrew Stewart asserts that the Alexander Sarcophagus was patronized by Abdalonymus for a number of reasons: mainly, for the reason that Near Eastern kings regularly commissioned their tombs ante-mortem in consideration of their "posthumous reputations." This is a commonly supported claim that has been continuously upheld by many scholars, but it has also been equally contested. For example, Waldemar Heckel argues that the sarcophagus was made for Mazaeus, a Persian noble and governor of Babylon. In order to support this assertion, Heckel questions why a sarcophagus for Abdalonymus, a king from Sidon, would feature so many Persian figures and iconographies, arguing that the dress, facial features, and activities of the central figure is more historically aligned with Persian rather than Phoenician nobility. The answer to this, according to Heckel, is that the relevance of these figures and iconographies would be more fitting for the Persian nobleman instead. In support, he theorizes that one of the side friezes depicts the Battle of Gaugamela in 331 BC, showing the strength of Mazaeus' military leadership in directing the Persian army.

Prompt: アレクサンドロス石棺の歴史の歴史に関するパトロンを説明してください。英語で出力して下さい。

Abdalonymus
Alexander the Great
Babylon
Battle of Gaugamela
Battle of Issus
Mazaeus
Near East
Phoenicia
Sarcophagus
Sidon
Waldemar Heckel


subsubsection

アレクサンドロス石棺

Although it has been widely accepted that this was not the actual sarcophagus of Alexander the Great himself from early on in its analysis, to have been the sarcophagus of Abdalonymus , the king of Sidon appointed by Alexander immediately following the Battle of Issus . Scholar Andrew Stewart asserts that the Alexander Sarcophagus was patronized by Abdalonymus for a number of reasons: mainly, for the reason that Near Eastern kings regularly commissioned their tombs ante-mortem in consideration of their "posthumous reputations." This is a commonly supported claim that has been continuously upheld by many scholars, but it has also been equally contested. For example, Waldemar Heckel argues that the sarcophagus was made for Mazaeus, a Persian noble and governor of Babylon. In order to support this assertion, Heckel questions why a sarcophagus for Abdalonymus, a king from Sidon, would feature so many Persian figures and iconographies, arguing that the dress, facial features, and activities of the central figure is more historically aligned with Persian rather than Phoenician nobility. The answer to this, according to Heckel, is that the relevance of these figures and iconographies would be more fitting for the Persian nobleman instead. In support, he theorizes that one of the side friezes depicts the Battle of Gaugamela in 331 BC, showing the strength of Mazaeus' military leadership in directing the Persian army.

Prompt: アレクサンドロス石棺に関して、歴史の歴史はパトロンをどのように取り入れていますか？英語で出力して下さい。

Abdalonymus
Alexander the Great
Babylon
Battle of Gaugamela
Battle of Issus
Mazaeus
Near East
Phoenicia
Sarcophagus
Sidon
Waldemar Heckel


subsubsection

アレクサンドロス石棺

Although it has been widely accepted that this was not the actual sarcophagus of Alexander the Great himself from early on in its analysis, to have been the sarcophagus of Abdalonymus , the king of Sidon appointed by Alexander immediately following the Battle of Issus . Scholar Andrew Stewart asserts that the Alexander Sarcophagus was patronized by Abdalonymus for a number of reasons: mainly, for the reason that Near Eastern kings regularly commissioned their tombs ante-mortem in consideration of their "posthumous reputations." This is a commonly supported claim that has been continuously upheld by many scholars, but it has also been equally contested. For example, Waldemar Heckel argues that the sarcophagus was made for Mazaeus, a Persian noble and governor of Babylon. In order to support this assertion, Heckel questions why a sarcophagus for Abdalonymus, a king from Sidon, would feature so many Persian figures and iconographies, arguing that the dress, facial features, and activities of the central figure is more historically aligned with Persian rather than Phoenician nobility. The answer to this, according to Heckel, is that the relevance of these figures and iconographies would be more fitting for the Persian nobleman instead. In support, he theorizes that one of the side friezes depicts the Battle of Gaugamela in 331 BC, showing the strength of Mazaeus' military leadership in directing the Persian army.

Prompt: アレクサンドロス石棺の歴史について見たとき、その歴史のパトロンをどのように議論しますか？英語で出力して下さい。

Abdalonymus
Alexander the Great
Babylon
Battle of Gaugamela
Battle of Issus
Mazaeus
Near East
Phoenicia
Sarcophagus
Sidon
Waldemar Heckel


subsubsection

アレクサンドロス石棺

One aspect of the sarcophagus's history that remains widely debated is which ancient Mediterranean culture may have created it. According to Schefold, six Ionian sculptors' hands have been distinguished, working in an Attic idiom. It is helpful to note here, that Sidon was a Phoenician city-state, which has led other scholars like Caroline Houser to argue its stylistic origins being rooted in Phoenicia. It has been argued that the majority of the sculptural detailing can be attributed to ancient Greek styles, drawing back to the capture of this Near Eastern city by the ancient Greeks. Due to the cross-cultural influences in Greek art at the time, however, there are conflicting attributes within the sarcophagus itself. For example, the lions found on the corners of the roof have specifically Asian attributes. There are also several mythologized creatures, such as "three ram horns growing on feline heads" that would have been entirely foreign to the fauna of the ancient Hellenistic world.

Prompt: アレクサンドロス石棺の歴史に焦点を当てて、歴史についての帰属を説明してください。英語で出力して下さい。


subsubsection

アレクサンドロス石棺

One aspect of the sarcophagus's history that remains widely debated is which ancient Mediterranean culture may have created it. According to Schefold, six Ionian sculptors' hands have been distinguished, working in an Attic idiom. It is helpful to note here, that Sidon was a Phoenician city-state, which has led other scholars like Caroline Houser to argue its stylistic origins being rooted in Phoenicia. It has been argued that the majority of the sculptural detailing can be attributed to ancient Greek styles, drawing back to the capture of this Near Eastern city by the ancient Greeks. Due to the cross-cultural influences in Greek art at the time, however, there are conflicting attributes within the sarcophagus itself. For example, the lions found on the corners of the roof have specifically Asian attributes. There are also several mythologized creatures, such as "three ram horns growing on feline heads" that would have been entirely foreign to the fauna of the ancient Hellenistic world.

Prompt: アレクサンドロス石棺の歴史の歴史に関する帰属を説明してください。英語で出力して下さい。


subsubsection

アレクサンドロス石棺

One aspect of the sarcophagus's history that remains widely debated is which ancient Mediterranean culture may have created it. According to Schefold, six Ionian sculptors' hands have been distinguished, working in an Attic idiom. It is helpful to note here, that Sidon was a Phoenician city-state, which has led other scholars like Caroline Houser to argue its stylistic origins being rooted in Phoenicia. It has been argued that the majority of the sculptural detailing can be attributed to ancient Greek styles, drawing back to the capture of this Near Eastern city by the ancient Greeks. Due to the cross-cultural influences in Greek art at the time, however, there are conflicting attributes within the sarcophagus itself. For example, the lions found on the corners of the roof have specifically Asian attributes. There are also several mythologized creatures, such as "three ram horns growing on feline heads" that would have been entirely foreign to the fauna of the ancient Hellenistic world.

Prompt: アレクサンドロス石棺に関して、歴史の歴史は帰属をどのように取り入れていますか？英語で出力して下さい。


subsubsection

アレクサンドロス石棺

One aspect of the sarcophagus's history that remains widely debated is which ancient Mediterranean culture may have created it. According to Schefold, six Ionian sculptors' hands have been distinguished, working in an Attic idiom. It is helpful to note here, that Sidon was a Phoenician city-state, which has led other scholars like Caroline Houser to argue its stylistic origins being rooted in Phoenicia. It has been argued that the majority of the sculptural detailing can be attributed to ancient Greek styles, drawing back to the capture of this Near Eastern city by the ancient Greeks. Due to the cross-cultural influences in Greek art at the time, however, there are conflicting attributes within the sarcophagus itself. For example, the lions found on the corners of the roof have specifically Asian attributes. There are also several mythologized creatures, such as "three ram horns growing on feline heads" that would have been entirely foreign to the fauna of the ancient Hellenistic world.

Prompt: アレクサンドロス石棺の歴史について見たとき、その歴史の帰属をどのように議論しますか？英語で出力して下さい。


subsection

アレクサンドロス石棺

The Alexander Sarcophagus was found in the Royal necropolis of Ayaa, a subterranean necropolis that was divided into two hypogea, an underground temple or tomb that consists of a series of rooms. It likely functioned as a royal necropolis, which also assists in supporting the scholarly debate regarding the possible patron of this sarcophagus.This sarcophagus in particular is one of four massive carved sarcophagi that formed two pairs. These pairs were discovered during the 1887 excavations conducted by Osman Hamdi Bey and Yervant Voskan at the necropolis near Sidon, Lebanon.

Prompt: アレクサンドロス石棺の文脈で、発見と解釈を説明してください。英語で出力して下さい。

Lebanon
Osman Hamdi Bey
Royal necropolis of Ayaa
Sarcophagus
Sidon
Yervant Voskan


subsection

アレクサンドロス石棺

The Alexander Sarcophagus was found in the Royal necropolis of Ayaa, a subterranean necropolis that was divided into two hypogea, an underground temple or tomb that consists of a series of rooms. It likely functioned as a royal necropolis, which also assists in supporting the scholarly debate regarding the possible patron of this sarcophagus.This sarcophagus in particular is one of four massive carved sarcophagi that formed two pairs. These pairs were discovered during the 1887 excavations conducted by Osman Hamdi Bey and Yervant Voskan at the necropolis near Sidon, Lebanon.

Prompt: アレクサンドロス石棺の解釈に関する発見を説明してください。英語で出力して下さい。

Lebanon
Osman Hamdi Bey
Royal necropolis of Ayaa
Sarcophagus
Sidon
Yervant Voskan


subsection

アレクサンドロス石棺

The Alexander Sarcophagus was found in the Royal necropolis of Ayaa, a subterranean necropolis that was divided into two hypogea, an underground temple or tomb that consists of a series of rooms. It likely functioned as a royal necropolis, which also assists in supporting the scholarly debate regarding the possible patron of this sarcophagus.This sarcophagus in particular is one of four massive carved sarcophagi that formed two pairs. These pairs were discovered during the 1887 excavations conducted by Osman Hamdi Bey and Yervant Voskan at the necropolis near Sidon, Lebanon.

Prompt: アレクサンドロス石棺では、どのように解釈の発見が説明されていますか？英語で出力して下さい。

Lebanon
Osman Hamdi Bey
Royal necropolis of Ayaa
Sarcophagus
Sidon
Yervant Voskan


subsection

アレクサンドロス石棺

The Alexander Sarcophagus was found in the Royal necropolis of Ayaa, a subterranean necropolis that was divided into two hypogea, an underground temple or tomb that consists of a series of rooms. It likely functioned as a royal necropolis, which also assists in supporting the scholarly debate regarding the possible patron of this sarcophagus.This sarcophagus in particular is one of four massive carved sarcophagi that formed two pairs. These pairs were discovered during the 1887 excavations conducted by Osman Hamdi Bey and Yervant Voskan at the necropolis near Sidon, Lebanon.

Prompt: アレクサンドロス石棺の解釈における発見の特徴を説明してください。英語で出力して下さい。

Lebanon
Osman Hamdi Bey
Royal necropolis of Ayaa
Sarcophagus
Sidon
Yervant Voskan


subsection

アレクサンドロス石棺

The Alexander Sarcophagus is constructed of Pentelic marble retaining traces of its polychromy, in the form of a Greek temple. Evidence of polychromy, referring to the colorful paintwork found on statuary , has been found on the sarcophagus, and would have actually been seen during the unearthing of the sarcophagus during its excavation in 1887. The Macedonian Greek warriors depicted on the sarcophagus are shown fighting in the nude, as was typical of Greek iconography. They were, however, painted, showing the colorful details of their skin tones, hair colors, helmets, and shields. The Persians these warriors fought against, on the other hand, were painted with bright, vibrant armor. The polychromy depicts the detailed patterns of their pants and skirts, as well as the intricate paint work done on their shields.

Prompt: アレクサンドロス石棺の文脈で、ポリクロミーと解釈を説明してください。英語で出力して下さい。


subsection

アレクサンドロス石棺

The Alexander Sarcophagus is constructed of Pentelic marble retaining traces of its polychromy, in the form of a Greek temple. Evidence of polychromy, referring to the colorful paintwork found on statuary , has been found on the sarcophagus, and would have actually been seen during the unearthing of the sarcophagus during its excavation in 1887. The Macedonian Greek warriors depicted on the sarcophagus are shown fighting in the nude, as was typical of Greek iconography. They were, however, painted, showing the colorful details of their skin tones, hair colors, helmets, and shields. The Persians these warriors fought against, on the other hand, were painted with bright, vibrant armor. The polychromy depicts the detailed patterns of their pants and skirts, as well as the intricate paint work done on their shields.

Prompt: アレクサンドロス石棺の解釈に関するポリクロミーを説明してください。英語で出力して下さい。


subsection

アレクサンドロス石棺

The Alexander Sarcophagus is constructed of Pentelic marble retaining traces of its polychromy, in the form of a Greek temple. Evidence of polychromy, referring to the colorful paintwork found on statuary , has been found on the sarcophagus, and would have actually been seen during the unearthing of the sarcophagus during its excavation in 1887. The Macedonian Greek warriors depicted on the sarcophagus are shown fighting in the nude, as was typical of Greek iconography. They were, however, painted, showing the colorful details of their skin tones, hair colors, helmets, and shields. The Persians these warriors fought against, on the other hand, were painted with bright, vibrant armor. The polychromy depicts the detailed patterns of their pants and skirts, as well as the intricate paint work done on their shields.

Prompt: アレクサンドロス石棺では、どのように解釈のポリクロミーが説明されていますか？英語で出力して下さい。


subsection

アレクサンドロス石棺

The Alexander Sarcophagus is constructed of Pentelic marble retaining traces of its polychromy, in the form of a Greek temple. Evidence of polychromy, referring to the colorful paintwork found on statuary , has been found on the sarcophagus, and would have actually been seen during the unearthing of the sarcophagus during its excavation in 1887. The Macedonian Greek warriors depicted on the sarcophagus are shown fighting in the nude, as was typical of Greek iconography. They were, however, painted, showing the colorful details of their skin tones, hair colors, helmets, and shields. The Persians these warriors fought against, on the other hand, were painted with bright, vibrant armor. The polychromy depicts the detailed patterns of their pants and skirts, as well as the intricate paint work done on their shields.

Prompt: アレクサンドロス石棺の解釈におけるポリクロミーの特徴を説明してください。英語で出力して下さい。


subsubsection

アレクサンドロス石棺

Although it has been widely accepted that this was not the actual sarcophagus of Alexander the Great himself from early on in its analysis, to have been the sarcophagus of Abdalonymus , the king of Sidon appointed by Alexander immediately following the Battle of Issus . Scholar Andrew Stewart asserts that the Alexander Sarcophagus was patronized by Abdalonymus for a number of reasons: mainly, for the reason that Near Eastern kings regularly commissioned their tombs ante-mortem in consideration of their "posthumous reputations." This is a commonly supported claim that has been continuously upheld by many scholars, but it has also been equally contested. For example, Waldemar Heckel argues that the sarcophagus was made for Mazaeus, a Persian noble and governor of Babylon. In order to support this assertion, Heckel questions why a sarcophagus for Abdalonymus, a king from Sidon, would feature so many Persian figures and iconographies, arguing that the dress, facial features, and activities of the central figure is more historically aligned with Persian rather than Phoenician nobility. The answer to this, according to Heckel, is that the relevance of these figures and iconographies would be more fitting for the Persian nobleman instead. In support, he theorizes that one of the side friezes depicts the Battle of Gaugamela in 331 BC, showing the strength of Mazaeus' military leadership in directing the Persian army.

Prompt: アレクサンドロス石棺の解釈に焦点を当てて、歴史についてのパトロンを説明してください。英語で出力して下さい。

Abdalonymus
Alexander the Great
Babylon
Battle of Gaugamela
Battle of Issus
Mazaeus
Near East
Phoenicia
Sarcophagus
Sidon
Waldemar Heckel


subsubsection

アレクサンドロス石棺

Although it has been widely accepted that this was not the actual sarcophagus of Alexander the Great himself from early on in its analysis, to have been the sarcophagus of Abdalonymus , the king of Sidon appointed by Alexander immediately following the Battle of Issus . Scholar Andrew Stewart asserts that the Alexander Sarcophagus was patronized by Abdalonymus for a number of reasons: mainly, for the reason that Near Eastern kings regularly commissioned their tombs ante-mortem in consideration of their "posthumous reputations." This is a commonly supported claim that has been continuously upheld by many scholars, but it has also been equally contested. For example, Waldemar Heckel argues that the sarcophagus was made for Mazaeus, a Persian noble and governor of Babylon. In order to support this assertion, Heckel questions why a sarcophagus for Abdalonymus, a king from Sidon, would feature so many Persian figures and iconographies, arguing that the dress, facial features, and activities of the central figure is more historically aligned with Persian rather than Phoenician nobility. The answer to this, according to Heckel, is that the relevance of these figures and iconographies would be more fitting for the Persian nobleman instead. In support, he theorizes that one of the side friezes depicts the Battle of Gaugamela in 331 BC, showing the strength of Mazaeus' military leadership in directing the Persian army.

Prompt: アレクサンドロス石棺の解釈の歴史に関するパトロンを説明してください。英語で出力して下さい。

Abdalonymus
Alexander the Great
Babylon
Battle of Gaugamela
Battle of Issus
Mazaeus
Near East
Phoenicia
Sarcophagus
Sidon
Waldemar Heckel


subsubsection

アレクサンドロス石棺

Although it has been widely accepted that this was not the actual sarcophagus of Alexander the Great himself from early on in its analysis, to have been the sarcophagus of Abdalonymus , the king of Sidon appointed by Alexander immediately following the Battle of Issus . Scholar Andrew Stewart asserts that the Alexander Sarcophagus was patronized by Abdalonymus for a number of reasons: mainly, for the reason that Near Eastern kings regularly commissioned their tombs ante-mortem in consideration of their "posthumous reputations." This is a commonly supported claim that has been continuously upheld by many scholars, but it has also been equally contested. For example, Waldemar Heckel argues that the sarcophagus was made for Mazaeus, a Persian noble and governor of Babylon. In order to support this assertion, Heckel questions why a sarcophagus for Abdalonymus, a king from Sidon, would feature so many Persian figures and iconographies, arguing that the dress, facial features, and activities of the central figure is more historically aligned with Persian rather than Phoenician nobility. The answer to this, according to Heckel, is that the relevance of these figures and iconographies would be more fitting for the Persian nobleman instead. In support, he theorizes that one of the side friezes depicts the Battle of Gaugamela in 331 BC, showing the strength of Mazaeus' military leadership in directing the Persian army.

Prompt: アレクサンドロス石棺に関して、解釈の歴史はパトロンをどのように取り入れていますか？英語で出力して下さい。

Abdalonymus
Alexander the Great
Babylon
Battle of Gaugamela
Battle of Issus
Mazaeus
Near East
Phoenicia
Sarcophagus
Sidon
Waldemar Heckel


subsubsection

アレクサンドロス石棺

Although it has been widely accepted that this was not the actual sarcophagus of Alexander the Great himself from early on in its analysis, to have been the sarcophagus of Abdalonymus , the king of Sidon appointed by Alexander immediately following the Battle of Issus . Scholar Andrew Stewart asserts that the Alexander Sarcophagus was patronized by Abdalonymus for a number of reasons: mainly, for the reason that Near Eastern kings regularly commissioned their tombs ante-mortem in consideration of their "posthumous reputations." This is a commonly supported claim that has been continuously upheld by many scholars, but it has also been equally contested. For example, Waldemar Heckel argues that the sarcophagus was made for Mazaeus, a Persian noble and governor of Babylon. In order to support this assertion, Heckel questions why a sarcophagus for Abdalonymus, a king from Sidon, would feature so many Persian figures and iconographies, arguing that the dress, facial features, and activities of the central figure is more historically aligned with Persian rather than Phoenician nobility. The answer to this, according to Heckel, is that the relevance of these figures and iconographies would be more fitting for the Persian nobleman instead. In support, he theorizes that one of the side friezes depicts the Battle of Gaugamela in 331 BC, showing the strength of Mazaeus' military leadership in directing the Persian army.

Prompt: アレクサンドロス石棺の解釈について見たとき、その歴史のパトロンをどのように議論しますか？英語で出力して下さい。

Abdalonymus
Alexander the Great
Babylon
Battle of Gaugamela
Battle of Issus
Mazaeus
Near East
Phoenicia
Sarcophagus
Sidon
Waldemar Heckel


subsubsection

アレクサンドロス石棺

One aspect of the sarcophagus's history that remains widely debated is which ancient Mediterranean culture may have created it. According to Schefold, six Ionian sculptors' hands have been distinguished, working in an Attic idiom. It is helpful to note here, that Sidon was a Phoenician city-state, which has led other scholars like Caroline Houser to argue its stylistic origins being rooted in Phoenicia. It has been argued that the majority of the sculptural detailing can be attributed to ancient Greek styles, drawing back to the capture of this Near Eastern city by the ancient Greeks. Due to the cross-cultural influences in Greek art at the time, however, there are conflicting attributes within the sarcophagus itself. For example, the lions found on the corners of the roof have specifically Asian attributes. There are also several mythologized creatures, such as "three ram horns growing on feline heads" that would have been entirely foreign to the fauna of the ancient Hellenistic world.

Prompt: アレクサンドロス石棺の解釈に焦点を当てて、歴史についての帰属を説明してください。英語で出力して下さい。


subsubsection

アレクサンドロス石棺

One aspect of the sarcophagus's history that remains widely debated is which ancient Mediterranean culture may have created it. According to Schefold, six Ionian sculptors' hands have been distinguished, working in an Attic idiom. It is helpful to note here, that Sidon was a Phoenician city-state, which has led other scholars like Caroline Houser to argue its stylistic origins being rooted in Phoenicia. It has been argued that the majority of the sculptural detailing can be attributed to ancient Greek styles, drawing back to the capture of this Near Eastern city by the ancient Greeks. Due to the cross-cultural influences in Greek art at the time, however, there are conflicting attributes within the sarcophagus itself. For example, the lions found on the corners of the roof have specifically Asian attributes. There are also several mythologized creatures, such as "three ram horns growing on feline heads" that would have been entirely foreign to the fauna of the ancient Hellenistic world.

Prompt: アレクサンドロス石棺の解釈の歴史に関する帰属を説明してください。英語で出力して下さい。


subsubsection

アレクサンドロス石棺

One aspect of the sarcophagus's history that remains widely debated is which ancient Mediterranean culture may have created it. According to Schefold, six Ionian sculptors' hands have been distinguished, working in an Attic idiom. It is helpful to note here, that Sidon was a Phoenician city-state, which has led other scholars like Caroline Houser to argue its stylistic origins being rooted in Phoenicia. It has been argued that the majority of the sculptural detailing can be attributed to ancient Greek styles, drawing back to the capture of this Near Eastern city by the ancient Greeks. Due to the cross-cultural influences in Greek art at the time, however, there are conflicting attributes within the sarcophagus itself. For example, the lions found on the corners of the roof have specifically Asian attributes. There are also several mythologized creatures, such as "three ram horns growing on feline heads" that would have been entirely foreign to the fauna of the ancient Hellenistic world.

Prompt: アレクサンドロス石棺に関して、解釈の歴史は帰属をどのように取り入れていますか？英語で出力して下さい。


subsubsection

アレクサンドロス石棺

One aspect of the sarcophagus's history that remains widely debated is which ancient Mediterranean culture may have created it. According to Schefold, six Ionian sculptors' hands have been distinguished, working in an Attic idiom. It is helpful to note here, that Sidon was a Phoenician city-state, which has led other scholars like Caroline Houser to argue its stylistic origins being rooted in Phoenicia. It has been argued that the majority of the sculptural detailing can be attributed to ancient Greek styles, drawing back to the capture of this Near Eastern city by the ancient Greeks. Due to the cross-cultural influences in Greek art at the time, however, there are conflicting attributes within the sarcophagus itself. For example, the lions found on the corners of the roof have specifically Asian attributes. There are also several mythologized creatures, such as "three ram horns growing on feline heads" that would have been entirely foreign to the fauna of the ancient Hellenistic world.

Prompt: アレクサンドロス石棺の解釈について見たとき、その歴史の帰属をどのように議論しますか？英語で出力して下さい。


subsection

アレクサンドロス石棺

Although it has been widely accepted that this was not the actual sarcophagus of Alexander the Great himself from early on in its analysis, to have been the sarcophagus of Abdalonymus , the king of Sidon appointed by Alexander immediately following the Battle of Issus . Scholar Andrew Stewart asserts that the Alexander Sarcophagus was patronized by Abdalonymus for a number of reasons: mainly, for the reason that Near Eastern kings regularly commissioned their tombs ante-mortem in consideration of their "posthumous reputations." This is a commonly supported claim that has been continuously upheld by many scholars, but it has also been equally contested. For example, Waldemar Heckel argues that the sarcophagus was made for Mazaeus, a Persian noble and governor of Babylon. In order to support this assertion, Heckel questions why a sarcophagus for Abdalonymus, a king from Sidon, would feature so many Persian figures and iconographies, arguing that the dress, facial features, and activities of the central figure is more historically aligned with Persian rather than Phoenician nobility. The answer to this, according to Heckel, is that the relevance of these figures and iconographies would be more fitting for the Persian nobleman instead. In support, he theorizes that one of the side friezes depicts the Battle of Gaugamela in 331 BC, showing the strength of Mazaeus' military leadership in directing the Persian army.

Prompt: アレクサンドロス石棺の文脈で、パトロンと発見を説明してください。英語で出力して下さい。


subsection

アレクサンドロス石棺

Although it has been widely accepted that this was not the actual sarcophagus of Alexander the Great himself from early on in its analysis, to have been the sarcophagus of Abdalonymus , the king of Sidon appointed by Alexander immediately following the Battle of Issus . Scholar Andrew Stewart asserts that the Alexander Sarcophagus was patronized by Abdalonymus for a number of reasons: mainly, for the reason that Near Eastern kings regularly commissioned their tombs ante-mortem in consideration of their "posthumous reputations." This is a commonly supported claim that has been continuously upheld by many scholars, but it has also been equally contested. For example, Waldemar Heckel argues that the sarcophagus was made for Mazaeus, a Persian noble and governor of Babylon. In order to support this assertion, Heckel questions why a sarcophagus for Abdalonymus, a king from Sidon, would feature so many Persian figures and iconographies, arguing that the dress, facial features, and activities of the central figure is more historically aligned with Persian rather than Phoenician nobility. The answer to this, according to Heckel, is that the relevance of these figures and iconographies would be more fitting for the Persian nobleman instead. In support, he theorizes that one of the side friezes depicts the Battle of Gaugamela in 331 BC, showing the strength of Mazaeus' military leadership in directing the Persian army.

Prompt: アレクサンドロス石棺の発見に関するパトロンを説明してください。英語で出力して下さい。


subsection

アレクサンドロス石棺

Although it has been widely accepted that this was not the actual sarcophagus of Alexander the Great himself from early on in its analysis, to have been the sarcophagus of Abdalonymus , the king of Sidon appointed by Alexander immediately following the Battle of Issus . Scholar Andrew Stewart asserts that the Alexander Sarcophagus was patronized by Abdalonymus for a number of reasons: mainly, for the reason that Near Eastern kings regularly commissioned their tombs ante-mortem in consideration of their "posthumous reputations." This is a commonly supported claim that has been continuously upheld by many scholars, but it has also been equally contested. For example, Waldemar Heckel argues that the sarcophagus was made for Mazaeus, a Persian noble and governor of Babylon. In order to support this assertion, Heckel questions why a sarcophagus for Abdalonymus, a king from Sidon, would feature so many Persian figures and iconographies, arguing that the dress, facial features, and activities of the central figure is more historically aligned with Persian rather than Phoenician nobility. The answer to this, according to Heckel, is that the relevance of these figures and iconographies would be more fitting for the Persian nobleman instead. In support, he theorizes that one of the side friezes depicts the Battle of Gaugamela in 331 BC, showing the strength of Mazaeus' military leadership in directing the Persian army.

Prompt: アレクサンドロス石棺では、どのように発見のパトロンが説明されていますか？英語で出力して下さい。


subsection

アレクサンドロス石棺

Although it has been widely accepted that this was not the actual sarcophagus of Alexander the Great himself from early on in its analysis, to have been the sarcophagus of Abdalonymus , the king of Sidon appointed by Alexander immediately following the Battle of Issus . Scholar Andrew Stewart asserts that the Alexander Sarcophagus was patronized by Abdalonymus for a number of reasons: mainly, for the reason that Near Eastern kings regularly commissioned their tombs ante-mortem in consideration of their "posthumous reputations." This is a commonly supported claim that has been continuously upheld by many scholars, but it has also been equally contested. For example, Waldemar Heckel argues that the sarcophagus was made for Mazaeus, a Persian noble and governor of Babylon. In order to support this assertion, Heckel questions why a sarcophagus for Abdalonymus, a king from Sidon, would feature so many Persian figures and iconographies, arguing that the dress, facial features, and activities of the central figure is more historically aligned with Persian rather than Phoenician nobility. The answer to this, according to Heckel, is that the relevance of these figures and iconographies would be more fitting for the Persian nobleman instead. In support, he theorizes that one of the side friezes depicts the Battle of Gaugamela in 331 BC, showing the strength of Mazaeus' military leadership in directing the Persian army.

Prompt: アレクサンドロス石棺の発見におけるパトロンの特徴を説明してください。英語で出力して下さい。


subsection

アレクサンドロス石棺

One aspect of the sarcophagus's history that remains widely debated is which ancient Mediterranean culture may have created it. According to Schefold, six Ionian sculptors' hands have been distinguished, working in an Attic idiom. It is helpful to note here, that Sidon was a Phoenician city-state, which has led other scholars like Caroline Houser to argue its stylistic origins being rooted in Phoenicia. It has been argued that the majority of the sculptural detailing can be attributed to ancient Greek styles, drawing back to the capture of this Near Eastern city by the ancient Greeks. Due to the cross-cultural influences in Greek art at the time, however, there are conflicting attributes within the sarcophagus itself. For example, the lions found on the corners of the roof have specifically Asian attributes. There are also several mythologized creatures, such as "three ram horns growing on feline heads" that would have been entirely foreign to the fauna of the ancient Hellenistic world.

Prompt: アレクサンドロス石棺の文脈で、帰属と発見を説明してください。英語で出力して下さい。


subsection

アレクサンドロス石棺

One aspect of the sarcophagus's history that remains widely debated is which ancient Mediterranean culture may have created it. According to Schefold, six Ionian sculptors' hands have been distinguished, working in an Attic idiom. It is helpful to note here, that Sidon was a Phoenician city-state, which has led other scholars like Caroline Houser to argue its stylistic origins being rooted in Phoenicia. It has been argued that the majority of the sculptural detailing can be attributed to ancient Greek styles, drawing back to the capture of this Near Eastern city by the ancient Greeks. Due to the cross-cultural influences in Greek art at the time, however, there are conflicting attributes within the sarcophagus itself. For example, the lions found on the corners of the roof have specifically Asian attributes. There are also several mythologized creatures, such as "three ram horns growing on feline heads" that would have been entirely foreign to the fauna of the ancient Hellenistic world.

Prompt: アレクサンドロス石棺の発見に関する帰属を説明してください。英語で出力して下さい。


subsection

アレクサンドロス石棺

One aspect of the sarcophagus's history that remains widely debated is which ancient Mediterranean culture may have created it. According to Schefold, six Ionian sculptors' hands have been distinguished, working in an Attic idiom. It is helpful to note here, that Sidon was a Phoenician city-state, which has led other scholars like Caroline Houser to argue its stylistic origins being rooted in Phoenicia. It has been argued that the majority of the sculptural detailing can be attributed to ancient Greek styles, drawing back to the capture of this Near Eastern city by the ancient Greeks. Due to the cross-cultural influences in Greek art at the time, however, there are conflicting attributes within the sarcophagus itself. For example, the lions found on the corners of the roof have specifically Asian attributes. There are also several mythologized creatures, such as "three ram horns growing on feline heads" that would have been entirely foreign to the fauna of the ancient Hellenistic world.

Prompt: アレクサンドロス石棺では、どのように発見の帰属が説明されていますか？英語で出力して下さい。


subsection

アレクサンドロス石棺

One aspect of the sarcophagus's history that remains widely debated is which ancient Mediterranean culture may have created it. According to Schefold, six Ionian sculptors' hands have been distinguished, working in an Attic idiom. It is helpful to note here, that Sidon was a Phoenician city-state, which has led other scholars like Caroline Houser to argue its stylistic origins being rooted in Phoenicia. It has been argued that the majority of the sculptural detailing can be attributed to ancient Greek styles, drawing back to the capture of this Near Eastern city by the ancient Greeks. Due to the cross-cultural influences in Greek art at the time, however, there are conflicting attributes within the sarcophagus itself. For example, the lions found on the corners of the roof have specifically Asian attributes. There are also several mythologized creatures, such as "three ram horns growing on feline heads" that would have been entirely foreign to the fauna of the ancient Hellenistic world.

Prompt: アレクサンドロス石棺の発見における帰属の特徴を説明してください。英語で出力して下さい。


section

テュルプ博士の解剖学講義

The Anatomy Lesson of Dr. Nicolaes Tulp is a 1632 oil painting on canvas by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands. It was originally created to be displayed by the Surgeons Guild in their meeting room. The painting is regarded as one of Rembrandt's early masterpieces.In the work, Nicolaes Tulp is pictured explaining the musculature of the arm to a group of doctors. Some of the spectators are various doctors who paid commissions to be included in the painting. The painting is signed in the top-left hand corner Rembrandt. f[ecit] 1632. This may be the first instance of Rembrandt signing a painting with his forename  as opposed to the monogram RHL , and is thus a sign of his growing artistic confidence.

Prompt: テュルプ博士の解剖学講義に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Anatomy
Mauritshuis
Netherlands
Nicolaes Tulp
Rembrandt
Surgeon
The Hague


section

テュルプ博士の解剖学講義

The Anatomy Lesson of Dr. Nicolaes Tulp is a 1632 oil painting on canvas by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands. It was originally created to be displayed by the Surgeons Guild in their meeting room. The painting is regarded as one of Rembrandt's early masterpieces.In the work, Nicolaes Tulp is pictured explaining the musculature of the arm to a group of doctors. Some of the spectators are various doctors who paid commissions to be included in the painting. The painting is signed in the top-left hand corner Rembrandt. f[ecit] 1632. This may be the first instance of Rembrandt signing a painting with his forename  as opposed to the monogram RHL , and is thus a sign of his growing artistic confidence.

Prompt: テュルプ博士の解剖学講義の抽象を説明してください。英語で出力して下さい。

Anatomy
Mauritshuis
Netherlands
Nicolaes Tulp
Rembrandt
Surgeon
The Hague


section

テュルプ博士の解剖学講義

The Anatomy Lesson of Dr. Nicolaes Tulp is a 1632 oil painting on canvas by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands. It was originally created to be displayed by the Surgeons Guild in their meeting room. The painting is regarded as one of Rembrandt's early masterpieces.In the work, Nicolaes Tulp is pictured explaining the musculature of the arm to a group of doctors. Some of the spectators are various doctors who paid commissions to be included in the painting. The painting is signed in the top-left hand corner Rembrandt. f[ecit] 1632. This may be the first instance of Rembrandt signing a painting with his forename  as opposed to the monogram RHL , and is thus a sign of his growing artistic confidence.

Prompt: テュルプ博士の解剖学講義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。

Anatomy
Mauritshuis
Netherlands
Nicolaes Tulp
Rembrandt
Surgeon
The Hague


section

テュルプ博士の解剖学講義

The Anatomy Lesson of Dr. Nicolaes Tulp is a 1632 oil painting on canvas by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands. It was originally created to be displayed by the Surgeons Guild in their meeting room. The painting is regarded as one of Rembrandt's early masterpieces.In the work, Nicolaes Tulp is pictured explaining the musculature of the arm to a group of doctors. Some of the spectators are various doctors who paid commissions to be included in the painting. The painting is signed in the top-left hand corner Rembrandt. f[ecit] 1632. This may be the first instance of Rembrandt signing a painting with his forename  as opposed to the monogram RHL , and is thus a sign of his growing artistic confidence.

Prompt: テュルプ博士の解剖学講義に関して、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。

Anatomy
Mauritshuis
Netherlands
Nicolaes Tulp
Rembrandt
Surgeon
The Hague


section

テュルプ博士の解剖学講義

The event can be dated to 31 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee. The spectators are appropriately dressed for this social occasion. It is thought that the uppermost  and farthest left figures were added to the picture later.Every five to ten years, the Surgeon's Guild would commission a portrait by a leading portraitist of the period; Rembrandt was commissioned for this task when he was 25 years old, and newly arrived in Amsterdam. It was his first major commission in Amsterdam. Each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures  probably paid more, even twice as much. Rembrandt's anatomical portrait radically altered the conventions of the genre, by including a full-length corpse in the center of the image  and creating not just a portrait but a dramatic mise-en-scène. Rembrandt's image is a fiction; in a typical anatomy lesson, the surgeon would begin by opening the chest cavity and thorax because the internal organs there decay most rapidly.One person is missing: the Preparator, whose task was to prepare the body for the lesson. In the 17th century an important scientist such as Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments. Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica  by Andreas Vesalius.

Prompt: テュルプ博士の解剖学講義に焦点を当てて、その背景を説明してください。英語で出力して下さい。

Amsterdam
Anatomy
Rembrandt
Surgeon
Andreas Vesalius


section

テュルプ博士の解剖学講義

The event can be dated to 31 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee. The spectators are appropriately dressed for this social occasion. It is thought that the uppermost  and farthest left figures were added to the picture later.Every five to ten years, the Surgeon's Guild would commission a portrait by a leading portraitist of the period; Rembrandt was commissioned for this task when he was 25 years old, and newly arrived in Amsterdam. It was his first major commission in Amsterdam. Each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures  probably paid more, even twice as much. Rembrandt's anatomical portrait radically altered the conventions of the genre, by including a full-length corpse in the center of the image  and creating not just a portrait but a dramatic mise-en-scène. Rembrandt's image is a fiction; in a typical anatomy lesson, the surgeon would begin by opening the chest cavity and thorax because the internal organs there decay most rapidly.One person is missing: the Preparator, whose task was to prepare the body for the lesson. In the 17th century an important scientist such as Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments. Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica  by Andreas Vesalius.

Prompt: テュルプ博士の解剖学講義の背景を説明してください。英語で出力して下さい。

Amsterdam
Anatomy
Rembrandt
Surgeon
Andreas Vesalius


section

テュルプ博士の解剖学講義

The event can be dated to 31 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee. The spectators are appropriately dressed for this social occasion. It is thought that the uppermost  and farthest left figures were added to the picture later.Every five to ten years, the Surgeon's Guild would commission a portrait by a leading portraitist of the period; Rembrandt was commissioned for this task when he was 25 years old, and newly arrived in Amsterdam. It was his first major commission in Amsterdam. Each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures  probably paid more, even twice as much. Rembrandt's anatomical portrait radically altered the conventions of the genre, by including a full-length corpse in the center of the image  and creating not just a portrait but a dramatic mise-en-scène. Rembrandt's image is a fiction; in a typical anatomy lesson, the surgeon would begin by opening the chest cavity and thorax because the internal organs there decay most rapidly.One person is missing: the Preparator, whose task was to prepare the body for the lesson. In the 17th century an important scientist such as Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments. Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica  by Andreas Vesalius.

Prompt: テュルプ博士の解剖学講義はどのように背景を説明していますか？英語で出力して下さい。

Amsterdam
Anatomy
Rembrandt
Surgeon
Andreas Vesalius


section

テュルプ博士の解剖学講義

The event can be dated to 31 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee. The spectators are appropriately dressed for this social occasion. It is thought that the uppermost  and farthest left figures were added to the picture later.Every five to ten years, the Surgeon's Guild would commission a portrait by a leading portraitist of the period; Rembrandt was commissioned for this task when he was 25 years old, and newly arrived in Amsterdam. It was his first major commission in Amsterdam. Each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures  probably paid more, even twice as much. Rembrandt's anatomical portrait radically altered the conventions of the genre, by including a full-length corpse in the center of the image  and creating not just a portrait but a dramatic mise-en-scène. Rembrandt's image is a fiction; in a typical anatomy lesson, the surgeon would begin by opening the chest cavity and thorax because the internal organs there decay most rapidly.One person is missing: the Preparator, whose task was to prepare the body for the lesson. In the 17th century an important scientist such as Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments. Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica  by Andreas Vesalius.

Prompt: テュルプ博士の解剖学講義に関して、どのように背景が議論されていますか？英語で出力して下さい。

Amsterdam
Anatomy
Rembrandt
Surgeon
Andreas Vesalius


section

テュルプ博士の解剖学講義

The corpse is that of the criminal Aris Kindt , who was convicted for armed robbery and sentenced to death by hanging. He was executed earlier on the same day of the scene. The face of the corpse is partially shaded,Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in ird Hunt's 2006 novel The Exquisite. In her 2014 historical fiction novel The Anatomy Lesson, author and journalist Nina Siegal tells the life story of Aris Kindt, based on documents about his criminal history that she discovered in the Amsterdam city archives.Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt. It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse.In a 2007 study, the American artist and anatomist David J. Jackowe and his colleagues demonstrated that the mysterious white cord that courses along the ulnar aspect of the cadaver's carpus and little finger, long thought to be either an ulnar nerve variant or artistic error, is most likely the tendon of a variant forearm muscle, the accessory abductor digiti minimi.

Prompt: テュルプ博士の解剖学講義に焦点を当てて、その死体を説明してください。英語で出力して下さい。

Amsterdam
Anatomy
Rembrandt
The Rings of Saturn
W. G. Sebald


section

テュルプ博士の解剖学講義

The corpse is that of the criminal Aris Kindt , who was convicted for armed robbery and sentenced to death by hanging. He was executed earlier on the same day of the scene. The face of the corpse is partially shaded,Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in ird Hunt's 2006 novel The Exquisite. In her 2014 historical fiction novel The Anatomy Lesson, author and journalist Nina Siegal tells the life story of Aris Kindt, based on documents about his criminal history that she discovered in the Amsterdam city archives.Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt. It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse.In a 2007 study, the American artist and anatomist David J. Jackowe and his colleagues demonstrated that the mysterious white cord that courses along the ulnar aspect of the cadaver's carpus and little finger, long thought to be either an ulnar nerve variant or artistic error, is most likely the tendon of a variant forearm muscle, the accessory abductor digiti minimi.

Prompt: テュルプ博士の解剖学講義の死体を説明してください。英語で出力して下さい。

Amsterdam
Anatomy
Rembrandt
The Rings of Saturn
W. G. Sebald


section

テュルプ博士の解剖学講義

The corpse is that of the criminal Aris Kindt , who was convicted for armed robbery and sentenced to death by hanging. He was executed earlier on the same day of the scene. The face of the corpse is partially shaded,Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in ird Hunt's 2006 novel The Exquisite. In her 2014 historical fiction novel The Anatomy Lesson, author and journalist Nina Siegal tells the life story of Aris Kindt, based on documents about his criminal history that she discovered in the Amsterdam city archives.Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt. It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse.In a 2007 study, the American artist and anatomist David J. Jackowe and his colleagues demonstrated that the mysterious white cord that courses along the ulnar aspect of the cadaver's carpus and little finger, long thought to be either an ulnar nerve variant or artistic error, is most likely the tendon of a variant forearm muscle, the accessory abductor digiti minimi.

Prompt: テュルプ博士の解剖学講義はどのように死体を説明していますか？英語で出力して下さい。

Amsterdam
Anatomy
Rembrandt
The Rings of Saturn
W. G. Sebald


section

テュルプ博士の解剖学講義

The corpse is that of the criminal Aris Kindt , who was convicted for armed robbery and sentenced to death by hanging. He was executed earlier on the same day of the scene. The face of the corpse is partially shaded,Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in ird Hunt's 2006 novel The Exquisite. In her 2014 historical fiction novel The Anatomy Lesson, author and journalist Nina Siegal tells the life story of Aris Kindt, based on documents about his criminal history that she discovered in the Amsterdam city archives.Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt. It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse.In a 2007 study, the American artist and anatomist David J. Jackowe and his colleagues demonstrated that the mysterious white cord that courses along the ulnar aspect of the cadaver's carpus and little finger, long thought to be either an ulnar nerve variant or artistic error, is most likely the tendon of a variant forearm muscle, the accessory abductor digiti minimi.

Prompt: テュルプ博士の解剖学講義に関して、どのように死体が議論されていますか？英語で出力して下さい。

Amsterdam
Anatomy
Rembrandt
The Rings of Saturn
W. G. Sebald


section

テュルプ博士の解剖学講義

The Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp.Deijman was Tulp's immediate successor in the post of praelector chirugic et anatomie. The painting was damaged by fire in 1723, and only a central fragment survives.Around 1856 Édouard Manet visited The Hague and made a small oil on panel copy of The Anatomy Lesson. Broadly painted in a limited palette, Manet gave the painting to his physician, François Siredey.A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection.The Gross Clinic of 1875 and The Agnew Clinic of 1889 are paintings by the American artist Thomas Eakins which treat a similar subject, operations on live patients in the presence of medical students.In 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille. The African National Congress condemned the work as disrespectful to Mandela, racist, and culturally insensitive to African taboos on depiction of living people as dead.The 2012 painting The Anatomy Lesson of Dr Freeman by Susan Dorothea White references the Rembrandt composition but renders each of the onlookers as an anatomical prosection and skeleton in a contemporary university laboratory; the enormous book is replaced by a computer screen and the background chart by a projection screen; the tendon orientation in the cadaver's left forearm is corrected.

Prompt: テュルプ博士の解剖学講義に焦点を当てて、その関連作品を説明してください。英語で出力して下さい。

African National Congress
Amsterdam
Anatomy
Cyril Ramaphosa
Desmond Tutu
F. W. de Klerk
Helen Zille
Jacob Zuma
Nelson Mandela
Nicolaes Tulp
Nkosi Johnson
Rembrandt
South Africa
Susan Dorothea White
Thabo Mbeki
The Agnew Clinic
The Anatomy Lesson of Dr. Deijman
The Gross Clinic
The Hague
Thomas Eakins
Trevor Manuel
Édouard Manet


section

テュルプ博士の解剖学講義

The Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp.Deijman was Tulp's immediate successor in the post of praelector chirugic et anatomie. The painting was damaged by fire in 1723, and only a central fragment survives.Around 1856 Édouard Manet visited The Hague and made a small oil on panel copy of The Anatomy Lesson. Broadly painted in a limited palette, Manet gave the painting to his physician, François Siredey.A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection.The Gross Clinic of 1875 and The Agnew Clinic of 1889 are paintings by the American artist Thomas Eakins which treat a similar subject, operations on live patients in the presence of medical students.In 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille. The African National Congress condemned the work as disrespectful to Mandela, racist, and culturally insensitive to African taboos on depiction of living people as dead.The 2012 painting The Anatomy Lesson of Dr Freeman by Susan Dorothea White references the Rembrandt composition but renders each of the onlookers as an anatomical prosection and skeleton in a contemporary university laboratory; the enormous book is replaced by a computer screen and the background chart by a projection screen; the tendon orientation in the cadaver's left forearm is corrected.

Prompt: テュルプ博士の解剖学講義の関連作品を説明してください。英語で出力して下さい。

African National Congress
Amsterdam
Anatomy
Cyril Ramaphosa
Desmond Tutu
F. W. de Klerk
Helen Zille
Jacob Zuma
Nelson Mandela
Nicolaes Tulp
Nkosi Johnson
Rembrandt
South Africa
Susan Dorothea White
Thabo Mbeki
The Agnew Clinic
The Anatomy Lesson of Dr. Deijman
The Gross Clinic
The Hague
Thomas Eakins
Trevor Manuel
Édouard Manet


section

テュルプ博士の解剖学講義

The Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp.Deijman was Tulp's immediate successor in the post of praelector chirugic et anatomie. The painting was damaged by fire in 1723, and only a central fragment survives.Around 1856 Édouard Manet visited The Hague and made a small oil on panel copy of The Anatomy Lesson. Broadly painted in a limited palette, Manet gave the painting to his physician, François Siredey.A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection.The Gross Clinic of 1875 and The Agnew Clinic of 1889 are paintings by the American artist Thomas Eakins which treat a similar subject, operations on live patients in the presence of medical students.In 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille. The African National Congress condemned the work as disrespectful to Mandela, racist, and culturally insensitive to African taboos on depiction of living people as dead.The 2012 painting The Anatomy Lesson of Dr Freeman by Susan Dorothea White references the Rembrandt composition but renders each of the onlookers as an anatomical prosection and skeleton in a contemporary university laboratory; the enormous book is replaced by a computer screen and the background chart by a projection screen; the tendon orientation in the cadaver's left forearm is corrected.

Prompt: テュルプ博士の解剖学講義はどのように関連作品を説明していますか？英語で出力して下さい。

African National Congress
Amsterdam
Anatomy
Cyril Ramaphosa
Desmond Tutu
F. W. de Klerk
Helen Zille
Jacob Zuma
Nelson Mandela
Nicolaes Tulp
Nkosi Johnson
Rembrandt
South Africa
Susan Dorothea White
Thabo Mbeki
The Agnew Clinic
The Anatomy Lesson of Dr. Deijman
The Gross Clinic
The Hague
Thomas Eakins
Trevor Manuel
Édouard Manet


section

テュルプ博士の解剖学講義

The Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp.Deijman was Tulp's immediate successor in the post of praelector chirugic et anatomie. The painting was damaged by fire in 1723, and only a central fragment survives.Around 1856 Édouard Manet visited The Hague and made a small oil on panel copy of The Anatomy Lesson. Broadly painted in a limited palette, Manet gave the painting to his physician, François Siredey.A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection.The Gross Clinic of 1875 and The Agnew Clinic of 1889 are paintings by the American artist Thomas Eakins which treat a similar subject, operations on live patients in the presence of medical students.In 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille. The African National Congress condemned the work as disrespectful to Mandela, racist, and culturally insensitive to African taboos on depiction of living people as dead.The 2012 painting The Anatomy Lesson of Dr Freeman by Susan Dorothea White references the Rembrandt composition but renders each of the onlookers as an anatomical prosection and skeleton in a contemporary university laboratory; the enormous book is replaced by a computer screen and the background chart by a projection screen; the tendon orientation in the cadaver's left forearm is corrected.

Prompt: テュルプ博士の解剖学講義に関して、どのように関連作品が議論されていますか？英語で出力して下さい。

African National Congress
Amsterdam
Anatomy
Cyril Ramaphosa
Desmond Tutu
F. W. de Klerk
Helen Zille
Jacob Zuma
Nelson Mandela
Nicolaes Tulp
Nkosi Johnson
Rembrandt
South Africa
Susan Dorothea White
Thabo Mbeki
The Agnew Clinic
The Anatomy Lesson of Dr. Deijman
The Gross Clinic
The Hague
Thomas Eakins
Trevor Manuel
Édouard Manet


section

テュルプ博士の解剖学講義

The Body Snatcher  quotes this scene when Dr. Macfarlane dissects a cadaver in front of his medical students.In Asterix and the Soothsayer , Uderzo and Goscinny referenced the painting at the bottom of page 10, where the characters observe the disembowelment of a fish.The 2011 video game Deus Ex: Human Revolution references the painting in both in-game portraits that can be found on the wall and in a certain cinematic trailer, featuring the main protagonist Adam Jensen as the cadaver as Dr. Nicolaes and his students study his charred and ruined arms, which in the actual story become amputated and replaced with mechanical limbs.In the 2012 German film Barbara, there is a scene in which a doctor offers his interpretation of the painting to a colleague  when she points out the inaccuracy of Aris Kindt's left hand.The painting is discussed by the narrator  and his mother during a visit to the Met in The Goldfinch, a 2013 novel by Donna Tartt.2014's The Anatomy Lesson by Nina Siegal is a fictionalized account of the painting's creation and backstory, based on six years of historical research and archival documents about Aris Kindt's life.The 2017 video game Observer_ features an edited version of the painting with the muscles and tendons replaced with sub-dermal cybernetics, in touch with the game's themes of transhumanism.Featured in episode 14 of the Korean drama Hush .Featured in the American horror film False Positive .Dr. Nicoleas Tulp's alma mater Amsterdam University Medical Centers hosts a yearly Anatomy Lesson in tribute. Previous speakers include Anthony Fauci. The anatomist Gunther von Hagens always wears a black fedora in public, even when performing autopsies, in a tribute to Dr. Tulp's hat in the painting.

Prompt: テュルプ博士の解剖学講義に焦点を当てて、その大衆文化でを説明してください。英語で出力して下さい。

Amsterdam
Amsterdam University Medical Center
Anatomy
Anthony Fauci
Asterix and the Soothsayer
Deus Ex: Human Revolution
Donna Tartt
Gunther von Hagens


section

テュルプ博士の解剖学講義

The Body Snatcher  quotes this scene when Dr. Macfarlane dissects a cadaver in front of his medical students.In Asterix and the Soothsayer , Uderzo and Goscinny referenced the painting at the bottom of page 10, where the characters observe the disembowelment of a fish.The 2011 video game Deus Ex: Human Revolution references the painting in both in-game portraits that can be found on the wall and in a certain cinematic trailer, featuring the main protagonist Adam Jensen as the cadaver as Dr. Nicolaes and his students study his charred and ruined arms, which in the actual story become amputated and replaced with mechanical limbs.In the 2012 German film Barbara, there is a scene in which a doctor offers his interpretation of the painting to a colleague  when she points out the inaccuracy of Aris Kindt's left hand.The painting is discussed by the narrator  and his mother during a visit to the Met in The Goldfinch, a 2013 novel by Donna Tartt.2014's The Anatomy Lesson by Nina Siegal is a fictionalized account of the painting's creation and backstory, based on six years of historical research and archival documents about Aris Kindt's life.The 2017 video game Observer_ features an edited version of the painting with the muscles and tendons replaced with sub-dermal cybernetics, in touch with the game's themes of transhumanism.Featured in episode 14 of the Korean drama Hush .Featured in the American horror film False Positive .Dr. Nicoleas Tulp's alma mater Amsterdam University Medical Centers hosts a yearly Anatomy Lesson in tribute. Previous speakers include Anthony Fauci. The anatomist Gunther von Hagens always wears a black fedora in public, even when performing autopsies, in a tribute to Dr. Tulp's hat in the painting.

Prompt: テュルプ博士の解剖学講義の大衆文化でを説明してください。英語で出力して下さい。

Amsterdam
Amsterdam University Medical Center
Anatomy
Anthony Fauci
Asterix and the Soothsayer
Deus Ex: Human Revolution
Donna Tartt
Gunther von Hagens


section

テュルプ博士の解剖学講義

The Body Snatcher  quotes this scene when Dr. Macfarlane dissects a cadaver in front of his medical students.In Asterix and the Soothsayer , Uderzo and Goscinny referenced the painting at the bottom of page 10, where the characters observe the disembowelment of a fish.The 2011 video game Deus Ex: Human Revolution references the painting in both in-game portraits that can be found on the wall and in a certain cinematic trailer, featuring the main protagonist Adam Jensen as the cadaver as Dr. Nicolaes and his students study his charred and ruined arms, which in the actual story become amputated and replaced with mechanical limbs.In the 2012 German film Barbara, there is a scene in which a doctor offers his interpretation of the painting to a colleague  when she points out the inaccuracy of Aris Kindt's left hand.The painting is discussed by the narrator  and his mother during a visit to the Met in The Goldfinch, a 2013 novel by Donna Tartt.2014's The Anatomy Lesson by Nina Siegal is a fictionalized account of the painting's creation and backstory, based on six years of historical research and archival documents about Aris Kindt's life.The 2017 video game Observer_ features an edited version of the painting with the muscles and tendons replaced with sub-dermal cybernetics, in touch with the game's themes of transhumanism.Featured in episode 14 of the Korean drama Hush .Featured in the American horror film False Positive .Dr. Nicoleas Tulp's alma mater Amsterdam University Medical Centers hosts a yearly Anatomy Lesson in tribute. Previous speakers include Anthony Fauci. The anatomist Gunther von Hagens always wears a black fedora in public, even when performing autopsies, in a tribute to Dr. Tulp's hat in the painting.

Prompt: テュルプ博士の解剖学講義はどのように大衆文化でを説明していますか？英語で出力して下さい。

Amsterdam
Amsterdam University Medical Center
Anatomy
Anthony Fauci
Asterix and the Soothsayer
Deus Ex: Human Revolution
Donna Tartt
Gunther von Hagens


section

テュルプ博士の解剖学講義

The Body Snatcher  quotes this scene when Dr. Macfarlane dissects a cadaver in front of his medical students.In Asterix and the Soothsayer , Uderzo and Goscinny referenced the painting at the bottom of page 10, where the characters observe the disembowelment of a fish.The 2011 video game Deus Ex: Human Revolution references the painting in both in-game portraits that can be found on the wall and in a certain cinematic trailer, featuring the main protagonist Adam Jensen as the cadaver as Dr. Nicolaes and his students study his charred and ruined arms, which in the actual story become amputated and replaced with mechanical limbs.In the 2012 German film Barbara, there is a scene in which a doctor offers his interpretation of the painting to a colleague  when she points out the inaccuracy of Aris Kindt's left hand.The painting is discussed by the narrator  and his mother during a visit to the Met in The Goldfinch, a 2013 novel by Donna Tartt.2014's The Anatomy Lesson by Nina Siegal is a fictionalized account of the painting's creation and backstory, based on six years of historical research and archival documents about Aris Kindt's life.The 2017 video game Observer_ features an edited version of the painting with the muscles and tendons replaced with sub-dermal cybernetics, in touch with the game's themes of transhumanism.Featured in episode 14 of the Korean drama Hush .Featured in the American horror film False Positive .Dr. Nicoleas Tulp's alma mater Amsterdam University Medical Centers hosts a yearly Anatomy Lesson in tribute. Previous speakers include Anthony Fauci. The anatomist Gunther von Hagens always wears a black fedora in public, even when performing autopsies, in a tribute to Dr. Tulp's hat in the painting.

Prompt: テュルプ博士の解剖学講義に関して、どのように大衆文化でが議論されていますか？英語で出力して下さい。

Amsterdam
Amsterdam University Medical Center
Anatomy
Anthony Fauci
Asterix and the Soothsayer
Deus Ex: Human Revolution
Donna Tartt
Gunther von Hagens


section

テュルプ博士の解剖学講義

The Anatomy Lesson of Dr. Deijman , a lesser-known painting by Rembrandt, now fragmentary, also depicting an anatomical lecture. List of paintings by Rembrandt

Prompt: テュルプ博士の解剖学講義に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Anatomy
List of paintings by Rembrandt
Rembrandt
The Anatomy Lesson of Dr. Deijman


section

テュルプ博士の解剖学講義

The Anatomy Lesson of Dr. Deijman , a lesser-known painting by Rembrandt, now fragmentary, also depicting an anatomical lecture. List of paintings by Rembrandt

Prompt: テュルプ博士の解剖学講義の参照を説明してください。英語で出力して下さい。

Anatomy
List of paintings by Rembrandt
Rembrandt
The Anatomy Lesson of Dr. Deijman


section

テュルプ博士の解剖学講義

The Anatomy Lesson of Dr. Deijman , a lesser-known painting by Rembrandt, now fragmentary, also depicting an anatomical lecture. List of paintings by Rembrandt

Prompt: テュルプ博士の解剖学講義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。

Anatomy
List of paintings by Rembrandt
Rembrandt
The Anatomy Lesson of Dr. Deijman


section

テュルプ博士の解剖学講義

The Anatomy Lesson of Dr. Deijman , a lesser-known painting by Rembrandt, now fragmentary, also depicting an anatomical lecture. List of paintings by Rembrandt

Prompt: テュルプ博士の解剖学講義に関して、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。

Anatomy
List of paintings by Rembrandt
Rembrandt
The Anatomy Lesson of Dr. Deijman


section

テュルプ博士の解剖学講義

Heller, Joseph , Picture This, Scribner Paperback Fiction,

Prompt: テュルプ博士の解剖学講義に焦点を当てて、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

テュルプ博士の解剖学講義

Heller, Joseph , Picture This, Scribner Paperback Fiction,

Prompt: テュルプ博士の解剖学講義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

テュルプ博士の解剖学講義

Heller, Joseph , Picture This, Scribner Paperback Fiction,

Prompt: テュルプ博士の解剖学講義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

テュルプ博士の解剖学講義

Heller, Joseph , Picture This, Scribner Paperback Fiction,

Prompt: テュルプ博士の解剖学講義に関して、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。


section

テュルプ博士の解剖学講義

Discussion by Janina Ramirez and Adam Rutherford:

Prompt: テュルプ博士の解剖学講義に焦点を当てて、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。


section

テュルプ博士の解剖学講義

Discussion by Janina Ramirez and Adam Rutherford:

Prompt: テュルプ博士の解剖学講義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。


section

テュルプ博士の解剖学講義

Discussion by Janina Ramirez and Adam Rutherford:

Prompt: テュルプ博士の解剖学講義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

テュルプ博士の解剖学講義

Discussion by Janina Ramirez and Adam Rutherford:

Prompt: テュルプ博士の解剖学講義に関して、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。


section

奏楽者たち (カラヴァッジョ)

medium=Oil on canvas height_metric=92 width_metric=118.5 metric_unit=cm imperial_unit=in city=New York museum=Metropolitan Museum of Art}}The Musicians or Concert of Youths  is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio . The work was commissioned by Cardinal Francesco Maria del Monte, who had an avid interest in music. It is one of Caravaggio’s more complex paintings, with four figures that were likely painted from life.

Prompt: 奏楽者たち (カラヴァッジョ)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。

Baroque
Caravaggio
Francesco Maria del Monte
Francesco Maria del Monte
Metropolitan Museum of Art


section

奏楽者たち (カラヴァッジョ)

medium=Oil on canvas height_metric=92 width_metric=118.5 metric_unit=cm imperial_unit=in city=New York museum=Metropolitan Museum of Art}}The Musicians or Concert of Youths  is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio . The work was commissioned by Cardinal Francesco Maria del Monte, who had an avid interest in music. It is one of Caravaggio’s more complex paintings, with four figures that were likely painted from life.

Prompt: 奏楽者たち (カラヴァッジョ)の抽象を説明してください。英語で出力して下さい。

Baroque
Caravaggio
Francesco Maria del Monte
Francesco Maria del Monte
Metropolitan Museum of Art


section

奏楽者たち (カラヴァッジョ)

medium=Oil on canvas height_metric=92 width_metric=118.5 metric_unit=cm imperial_unit=in city=New York museum=Metropolitan Museum of Art}}The Musicians or Concert of Youths  is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio . The work was commissioned by Cardinal Francesco Maria del Monte, who had an avid interest in music. It is one of Caravaggio’s more complex paintings, with four figures that were likely painted from life.

Prompt: 奏楽者たち (カラヴァッジョ)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。

Baroque
Caravaggio
Francesco Maria del Monte
Francesco Maria del Monte
Metropolitan Museum of Art


section

奏楽者たち (カラヴァッジョ)

medium=Oil on canvas height_metric=92 width_metric=118.5 metric_unit=cm imperial_unit=in city=New York museum=Metropolitan Museum of Art}}The Musicians or Concert of Youths  is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio . The work was commissioned by Cardinal Francesco Maria del Monte, who had an avid interest in music. It is one of Caravaggio’s more complex paintings, with four figures that were likely painted from life.

Prompt: 奏楽者たち (カラヴァッジョ)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。

Baroque
Caravaggio
Francesco Maria del Monte
Francesco Maria del Monte
Metropolitan Museum of Art


section

奏楽者たち (カラヴァッジョ)

Caravaggio entered the household of Cardinal Francesco Maria Del Monte sometime in 1595, and The Musicians is thought to have been his first painting done expressly for the cardinal.Cardinal del Monte's impact on Caravaggio's artistic career during its early stages has been heavily studied due to his significant involvement as a supporter. Furthermore, his preference for particular artists, such as Andrea Sacchi, and active participation in the Accademia di San Luca are commonly recognized.Del Monte's strong enthusiasm for music was viewed as a vital aspect of education for Renaissance individuals of high social status. According to a sixteenth-century manuscript detailing the life of a respected Italian nobleman and soldier, music was deemed necessary for aristocratic behavior. This would provide motivation for commissioning art and helping Caravaggio become immersed in the Baroque scene of music. The impact of del Monte's commissions would create an outlet for Caravaggio to gain first-hand experience in scenes often meant for the aristocracy to enjoy. Giving Caravaggio this perspective provided an accurate source for rendering and capturing the moods and emotions attached to the baroque movement and music.

Prompt: 奏楽者たち (カラヴァッジョ)に焦点を当てて、そのパトロンを説明してください。英語で出力して下さい。

Accademia di San Luca
Andrea Sacchi
Baroque
Caravaggio
Renaissance


section

奏楽者たち (カラヴァッジョ)

Caravaggio entered the household of Cardinal Francesco Maria Del Monte sometime in 1595, and The Musicians is thought to have been his first painting done expressly for the cardinal.Cardinal del Monte's impact on Caravaggio's artistic career during its early stages has been heavily studied due to his significant involvement as a supporter. Furthermore, his preference for particular artists, such as Andrea Sacchi, and active participation in the Accademia di San Luca are commonly recognized.Del Monte's strong enthusiasm for music was viewed as a vital aspect of education for Renaissance individuals of high social status. According to a sixteenth-century manuscript detailing the life of a respected Italian nobleman and soldier, music was deemed necessary for aristocratic behavior. This would provide motivation for commissioning art and helping Caravaggio become immersed in the Baroque scene of music. The impact of del Monte's commissions would create an outlet for Caravaggio to gain first-hand experience in scenes often meant for the aristocracy to enjoy. Giving Caravaggio this perspective provided an accurate source for rendering and capturing the moods and emotions attached to the baroque movement and music.

Prompt: 奏楽者たち (カラヴァッジョ)のパトロンを説明してください。英語で出力して下さい。

Accademia di San Luca
Andrea Sacchi
Baroque
Caravaggio
Renaissance