Miyako Sugiyama
Nagoya University, Graduate School of Humanities, Faculty Member
- Art History, Early Netherlandish Painting, Religious History, Medieval History, History of Art, Medieval illuminated manuscripts, and 17 more16th and 17th century Dutch and Flemish Art, 15th Century Burgundy, 15th Century Netherlandish Art, Late Medieval History, Late Medieval Religion, Monasticism and Devotion, Late medieval and renaissance art in northern europe, Flemish Primitives, Jan Van Eyck, Indulgences, Burgundian Court, Art and Art History, Historiography (in Art History), History of Arts, Feminist Art History, Symbolism (Art History), Medieval Art History, and History of Art and Architectureedit
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『北方近世叢書V ネーデルラント美術の宇宙』、ありな書房、2020年、11－40頁。
Paper delivered at the 70th Annual Meeting of the Japan Art History Society on 21 May 2017.
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Paper delivered at Societe Franco-Japonaise d'Art et d'Archeologie on 9th February 2018.
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Sixteenth Century Society and Conference, Bruges, 19-08- 2016
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Distinguished Contributions to the Study of the Arts in the Burgundian Netherlands (HMDC), vol. 4, Brepols Publishers, 2021.
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The Crucifixion and Last Judgment, or the so-called New York Diptych, is one of the most controversial paintings attributed to Jan van Eyck (ca. 1390–1441) and his workshop. For well over a century, art historians have vigorously... more
The Crucifixion and Last Judgment, or the so-called New York Diptych, is one of the most controversial paintings attributed to Jan van Eyck (ca. 1390–1441) and his workshop. For well over a century, art historians have vigorously discussed its attribution, composition, functional intent, and even its dating. In light of prior scholarship addressing these remarkable panels, this paper focuses on the skeleton represented in the Last Judgment to reveal its iconographical meanings. Specifically, I highlight the inscriptions written on the skeleton’s wings, suggesting that the texts were cited from an All Saints’ Day sermon delivered by the Burgundian abbot Bernard of Clairvaux (1090–1153) who discussed a temporal location for blessed or sinful souls.
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今井澄子編『北方近世叢書IV』、ありな書房、2019年、41－72頁。
In: Mohammad Gharipour (ed.), Health and Architecture: Designing Spaces for Healing and Caring in the Pre-Modern Era, Bloomsbury, May 2021, pp. 56-73.
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Pilgrimage is one of the most indispensable aspects to consider when determining the function of late medieval imagery, especially images that are related to indulgences. Some of them have been examined as an aid to perform pilgrimage... more
Pilgrimage is one of the most indispensable aspects to consider when determining the function of late
medieval imagery, especially images that are related to indulgences. Some of them have been examined
as an aid to perform pilgrimage without the hardship of an actual journey – a virtual pilgrimage –
through which one could earn indulgences. Prominent examples are the small panels with Saint John
the Baptist with a letter ‘A’ in Museum Catharijneconvent in Utrecht, and the Virgin and Child with
a letter ‘D’ in the Bob Jones University Museum and Gallery in Greenville. The first was thoroughly
examined in 1981 by Henri Defoer, who compared the panel with an illustration of Die costelijke scat
der gheestelijker rijcdoem (Heavenly treasure of spiritual wealth), which was a pilgrimage guide to Rome,
especially to the Seven Pilgrimage Churches in Rome. On the basis of the subject and its letter, Defoer
concluded that the panel shows San Giovanni in Laterano. The second was reported by Catherine
Reynolds in 1997 as a panel with Santa Maria Maggiore.
This article presents for the first time a third panel, that was recently rediscovered in a private
collection. The panel depicts a Christ crucified in front of an unknown church with a letter ‘G’. After
summarizing Defoer’s study on the Utrecht and Greenville panels, the author will present the panel as
Santa Croce in Gerusalemme, the last station to perform the virtual pilgrimage to Rome. The discussion
will be followed by stylistic analysis to suggest that the three panels were made by different members
from the same workshop in the early-sixteenth Southern Netherlands.
medieval imagery, especially images that are related to indulgences. Some of them have been examined
as an aid to perform pilgrimage without the hardship of an actual journey – a virtual pilgrimage –
through which one could earn indulgences. Prominent examples are the small panels with Saint John
the Baptist with a letter ‘A’ in Museum Catharijneconvent in Utrecht, and the Virgin and Child with
a letter ‘D’ in the Bob Jones University Museum and Gallery in Greenville. The first was thoroughly
examined in 1981 by Henri Defoer, who compared the panel with an illustration of Die costelijke scat
der gheestelijker rijcdoem (Heavenly treasure of spiritual wealth), which was a pilgrimage guide to Rome,
especially to the Seven Pilgrimage Churches in Rome. On the basis of the subject and its letter, Defoer
concluded that the panel shows San Giovanni in Laterano. The second was reported by Catherine
Reynolds in 1997 as a panel with Santa Maria Maggiore.
This article presents for the first time a third panel, that was recently rediscovered in a private
collection. The panel depicts a Christ crucified in front of an unknown church with a letter ‘G’. After
summarizing Defoer’s study on the Utrecht and Greenville panels, the author will present the panel as
Santa Croce in Gerusalemme, the last station to perform the virtual pilgrimage to Rome. The discussion
will be followed by stylistic analysis to suggest that the three panels were made by different members
from the same workshop in the early-sixteenth Southern Netherlands.
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Journal of the Science of Arts, Mita Society for the Science of Arts, vol. 21, 2017, pp. 89-100.
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Simiolus, Netherlands Quarterly for the History of Art, vol. 39 (2017), Number 1/2, pp. 5-14.
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The Medieval Low Countries, vol. 3 (2016), pp. 97-121.
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Geijutsugaku, Mita Society for the Science of Arts, vol. 17 (2013), pp. 54-66
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Bijutsushi, vol. 63 (2), 2014, pp. 224-239
Ph.D. thesis, Ghent University, May 2017.