{"id":"gustavian-style","no":529,"name":"Gustavian Style","ja":"グスタヴィアン様式","era":"1770s–1790s","family":"家具とインテリア","kind":"スタイル","collection":"Dictionary expansion 26","addedAt":"2026-08-19","source":{"title":"Cooper Hewitt, Smithsonian Design Museum — The Neoclassical North","url":"https://www.cooperhewitt.org/2014/09/13/the-neoclassical-north/"},"reference":{"status":"verified","pageUrl":"https://www.cooperhewitt.org/2014/09/13/the-neoclassical-north/","credit":"Cooper Hewitt, Smithsonian Design Museum — The Neoclassical North","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Slott%20Sturehov%20gr%C3%B6na%20salongen%2C%202011.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Slott%20Sturehov%20gr%C3%B6na%20salongen%2C%202011.jpg","credit":"ステューレホフ城 緑の間 1781年 — Wikimedia Commons / CC BY-SA 4.0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Mariebergskakelugn%20i%20gula%20f%C3%B6rmaket%20p%C3%A5%20Sturehovs%20slott%20i%20Botkyrka.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Mariebergskakelugn%20i%20gula%20f%C3%B6rmaket%20p%C3%A5%20Sturehovs%20slott%20i%20Botkyrka.jpg","credit":"マリーベリ製陶所《タイルストーブ》1780年代、ステューレホフ城 黄の間 — Wikimedia Commons / CC BY-SA 4.0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Jonas%20hultsst%C3%A9n%20(attr.)%2C%20cassettone%20in%20stile%20gustaviano%2C%20con%20ripiano%20in%20marmo%2C%20stoccolma%201773-1797%20circa.JPG?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Jonas%20hultsst%C3%A9n%20(attr.)%2C%20cassettone%20in%20stile%20gustaviano%2C%20con%20ripiano%20in%20marmo%2C%20stoccolma%201773-1797%20circa.JPG","credit":"ヨナス・フルトステーン（帰属）《グスタヴィアン様式のコモード》1773–1797年頃 — Wikimedia Commons / CC BY 3.0"}]},"essence":"グスタフ3世のもとで成立したスウェーデンの新古典。手本はルイ16世様式の形式的な古典主義で、王はヴェルサイユを訪れ、フランスの職人を宮廷に招いている。ただし高価な素材は国産のガラスに置き換えられた。","cues":["抑制のきいた新古典の輪郭で、ルイ16世様式の形をそのまま写している","ロッククリスタルの飾りが、小さな透明ガラスの玉に置き換わっている","コバルトの青いガラスが、透明なガラスの中に少量だけ差し込まれる","金メッキの金具と鎖が、ガラスをつなぐ骨として表に出ている"],"intents":["高級","静けさ"],"works":["北欧の室内を再現する内装で、フランス宮廷様式との差を照明器具から出したいとき","高価な素材を安く作れる素材に置き換えながら、格を落とさない設計を考えるとき"],"recipe":{"type":"器物に文字は載らない。室名や解説を添えるなら細いローマン体を小さく組み、装飾のない余白に置く。","layout":"左右対称の新古典の骨格を保ち、段を重ねて高さを作る。装飾は輪郭を乱さない範囲に留め、形の抑制を優先する。","material":"彫った高価な素材ではなく国産のガラスを使う。透明なガラスの玉を主体に、コバルトの青を少量差し、金メッキの金具でつなぐ。"},"avoid":"フランス宮廷の豪華さを量で追うと、安く作れる素材に置き換えて格を保つという判断が失われ、ただの縮小版になる。","colors":["#C9CFD2","#2A4A8C","#B99B5B"],"motif":"graphic","pair":["neoclassicism","scandinavian-modern"],"study":["ルイ16世様式の器物とスウェーデン製を並べ、形のどこが同じでどこが簡略化されたか","透明ガラスとコバルトガラスの配分","スウェーデンの国産ガラスがどの範囲の器物にまで及んだか"],"en":{"essence":"Swedish neoclassicism as it took shape under Gustav III, who reigned from 1771 to 1792. Its model was the formal classicism of the Louis XVI style, and the king visited Versailles and then brought French craftspeople in to work at the Swedish royal palace. What makes it a style of its own is substitution, since domestically produced glass stood in for costly materials, and small clear glass beads did the work that carved rock crystal did in France.","cues":["A reserved neoclassical outline copied directly from Louis XVI forms","Small clear glass beads standing in for carved rock crystal drops","A little cobalt blue glass set among otherwise colourless glass","Gilt metal chains and mounts left visible as the structure holding the glass"],"works":["Separating a Nordic interior from a French court one, starting with the light fittings","Working out how to swap an expensive material for a cheaper local one without losing rank"],"recipe":{"type":"Objects carry no lettering. Where a room name or label is needed, set a fine roman small and place it on undecorated ground.","layout":"Keep the symmetrical neoclassical frame and build height by stacking tiers. Hold ornament inside the silhouette so restraint of form comes first.","material":"Use locally made glass in place of carved luxury material. Build mainly from colourless glass beads, add a little cobalt blue, and link it with gilt metal."},"avoid":"Chasing French court opulence through sheer quantity loses the point, which is holding rank while substituting a cheaper local material.","study":["Louis XVI style objects and Swedish ones placed side by side, and where the form is the same and where it is simplified","the proportion of clear glass to cobalt glass","how far across the range of objects Swedish domestic glass reached"]}}