{"id":"istoriato","no":514,"name":"Istoriato","ja":"イストリアート","era":"c. 1500–","family":"陶磁の様式","kind":"スタイル","collection":"Dictionary expansion 26","addedAt":"2026-08-19","source":{"title":"Getty Research Institute — Art & Architecture Thesaurus: istoriato (300281845)","url":"https://vocab.getty.edu/page/aat/300281845"},"reference":{"status":"verified","pageUrl":"https://vocab.getty.edu/page/aat/300281845","credit":"Getty Research Institute — Art & Architecture Thesaurus: istoriato (300281845)","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Clevelandart%201945.125.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Clevelandart%201945.125.jpg","credit":"ウルビーノ工房《アブラハムとイサクを描く高台皿》16世紀 — Wikimedia Commons / CC0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/WLANL%20-%20MicheleLovesArt%20-%20Museum%20Boijmans%20Van%20Beuningen%20-%20Istoriato%20schotel%2C%20Echo%2C%20Amor%20en%20Narcissus.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:WLANL%20-%20MicheleLovesArt%20-%20Museum%20Boijmans%20Van%20Beuningen%20-%20Istoriato%20schotel%2C%20Echo%2C%20Amor%20en%20Narcissus.jpg","credit":"《エコー、アモルとナルキッソスの皿》1535年 — Wikimedia Commons / CC BY-SA 2.0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Bettisi%2011194%20web.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Bettisi%2011194%20web.jpg","credit":"レオナルド・ベッティージ《双耳壺》16世紀 ファエンツァ — Wikimedia Commons / CC BY-SA 3.0"}]},"essence":"マヨリカの皿の面をまるごと一枚の絵として扱い、歴史や神話、聖書、寓意の場面を多色で縁まで描き切るイタリアの様式。1500年ごろに現れ、ウルビーノと結びついて広まった。器は装飾された道具ではなく、絵の支持体になる。","cues":["見込みから縁まで一続きの場面が描かれ、装飾帯で区切られない","白い錫釉の地の上に、黄・青・緑・褐色の多色の絵付けが載る","人物が奥行きのある風景や建築の中に置かれ、絵画の構図がそのまま持ち込まれる","縁の曲面でも場面が途切れず、絵が器の立体に沿って歪む"],"intents":["高級","高揚"],"works":["食器や陶板のシリーズで、面の縁まで使い切る絵付けの割り付けを決めるとき","円形の版面に物語の一場面を収める構図を、皿以外の丸い画面にも応用したいとき"],"recipe":{"type":"文字は絵の中に置かない。場面の名を添えるなら画面の外に回し、細い手書きの筆記体で小さく書く。","layout":"皿の見込みを一枚の画面と見なし、縁を装飾帯で切らずに場面を続ける。人物を中景に集め、上方に空と建築の抜けをつくる。","material":"白い錫釉をかけた素地の上に多色の顔料で直接描き、焼成して色を釉に沈める。塗り直しがきかないので、線は一度で置く。"},"avoid":"縁に装飾帯を回して場面を囲うと、面を絵で使い切るという判断が消え、ただの絵付け皿に戻る。","colors":["#F1E7D2","#C8952F","#3E6A9E"],"motif":"graphic","pair":["delftware","azulejo"],"study":["ウルビーノの作と他産地の作で、場面の詰め方と余白の残し方がどう違うか","錫釉の白が地としてどこまで残されているか","縁の曲面で人物や建築の線がどう歪むか"],"en":{"essence":"A way of painting maiolica in which the whole face of a dish becomes one picture, carrying a historical, mythological, Biblical or allegorical scene in colour all the way to the rim. It first appears around 1500 and is associated with Urbino. The vessel stops being a decorated object and turns into a support for painting.","cues":["One continuous scene from well to rim, with no decorative band cutting it off","Polychrome painting in yellow, blue, green and brown over a white tin glaze","Figures set inside a receding landscape or architecture, the composition borrowed straight from painting","The scene carrying on across the curved rim, so the image distorts with the vessel's form"],"works":["Laying out a plate or tile series where the painting runs to the rim instead of stopping at a border","Fitting one narrative moment into a circular field, on a dish or on any other round format"],"recipe":{"type":"Keep lettering out of the picture. If a scene needs naming, move the text off the field and write it small in a fine cursive hand.","layout":"Treat the well of the dish as a single picture plane and let the scene cross the rim rather than ending at a border. Group figures in the middle ground and open the upper field to sky and architecture.","material":"Paint directly in coloured pigments onto a raw white tin glaze, then fire so the colour sinks into the glaze. Nothing can be repainted, so every stroke is laid once."},"avoid":"Ringing the scene with a decorative border undoes the style, because it depends on the picture claiming the entire surface.","study":["how the packing of the scene and the ground left empty differ between Urbino work and work from other centres","how much of the white of the tin glaze is left as ground","how the lines of figures and architecture distort on the curve of the rim"]}}