Influence of dam reservoir on deep marine sedimentological environment : An example of the Kumano Trough, central Japan

Sedimentation rate (mass accumulation rate; MAR) of surface hemipelagic sediments in the Kumano Trough, a forearc basin approximately 2000 m deep off the eastern Kii Peninsula, central Japan, was estimated from excess Pb-210 radioactivity profile and dry bulk density of the core sample. The estimated excess Pb-210 radioactivity profile was subdivided into three segments. The top segment was inferred to be affected by biological mixing in the surface mixing layer (SML). In contrast, a difference between segment-2 and segment-3 would reflect decease in MAR. With a simple model, the influence of the biological mixing and boundary age between segment-2 and segment-3 were estimated. The relationship between decreasing age of hemipelagic sediment MAR in the Kumano Trough (1950s) and dam construction age (1950s–1960s) was reasonable. Additionally, the relationship was supported by similarity in sediment grain size of dam reservoir and hemipelagic environment. Consequently, the construction of dams probably influences the deep marine hemipelagic environment of the forearc basin 2000 m below sea level

フラ・アンジェリコのフレスコ画における円光の技法II: サン・マルコ修道院の『磔と聖人たち』を中心に

本研究は，イタリア・ゴシック期のフレスコ画に多用された円光技法について，実証実験を通して明らかにするもの である。これまで，フィレンツェのサンタ・クローチェ教会主礼拝堂壁画『聖十字架物語』の修復に際して得られた研究資料 等に基づき，チェンニーノ・チェンニーニの技法書に則って当時のジョット派の円光技法を解明した。次に，調査をフィレン ツェ派の円光に拡大したところ，ほとんどがジョット派，つまりチェンニーニの技法とほぼ同じであった中，初期ルネサンス の巨匠フラ・アンジェリコの円光は大きく違っていた。当該の円光が採用された作品は，彼の傑作『受胎告知』と『磔と聖人 たち』であり，この二作品に導入された円光にも違いが確認できた。前稿で解明した『受胎告知』の円光技法につづき，本稿 では『磔と聖人たち』の円光技法を明らかにする。In this study, I demonstratively explored the technique of stuccoing nimbuses in gothic period fresco. I identified the technique of the Giotto school based on many precious resources that I was able to collect while restoring the fresco of ‘The Legend of the True Cross’. I identified the technique using ‘Il libero Dell’arte’ (‘The Craftsman’s Handbook’) written by Cennino Cennini. I then expanded my research to include the nimbuses of the Firenze school and proved that even though most of the nimbuses were made with almost the same technique as Cennino Cennini’s definition of the Giotto school technique, nimbuses made by Fra’ Angelico (the great master of early Renaissance fresco) differ greatly from them. I discovered that there was a difference between the nimbuses in two of his masterpieces, ‘The Annunciation’ and ‘The Crucifixion and Saints’. In the last chapter, I investigated the technique used to make the nimbuses in ‘The Annunciation’. In this chapter I will clarify the technique used to make the nimbuses in ‘The Crucifixion and Saints’

フラ・アンジェリコのフレスコ画における円光の技法 I: サンマルコ修道院の「受胎告知」を中心に

金沢大学は，サンタ・クローチェ教会主礼拝堂壁画アーニョロ・ガッディ作『聖十字架物語』（1380頃）の修復プロジェ クトに携わった。このプロジェクトを契機に，『聖十字架物語』のフレスコ画の描写法に加え金属箔に覆われた漆喰や蜜蝋を 主材料とした盛り上げによる工芸的装飾技法の解明に取り組み，オリジナルの技法に肉薄した。この工芸的技法の研究に引き 続き，同時代の他のフレスコ画の技法に調査研究を拡大した。その結果，円光の技法に関して，多くは『聖十字架物語』と同 じ技法で制作されていたものの，初期ルネサンス時代の巨匠，フラ・アンジェリコの『受胎告知』に施された円光は異質であっ た。本小論では，このフラ・アンジェリコの円光技法の特異性を明らかにするとともに，板絵テンペラの手法が応用されてい る可能性を説いた。さらにこの仮説を，復元実験を通して実証的に明らかにした。Kanazawa University participated in a project restoring the fresco “The Legend of the True Cross” made by Agnolo Gaddi in the Basilica of Santa Croce around 1380. In this project, we explored the painting style of the fresco “The Legend of the True Cross” and the decorative arts techniques of making nimbuses with stucco bosses, of embossing beeswax, and of using metal leaves. We came close to producing the original technique. After that, we expanded the range of the study to focus on other frescos in the same age. As a result, we clarified that most of the fresco were made with the same technique as “The Legend of the True Cross”. However, the nimbuses of the “Annunciation” made by Fra’ Angelico in the initial Renaissance differ from the other fresco. In this essay, I discuss this difference and the possibility that the tempera technique has been used for the fresco. Then I demonstratively examine this hypothesis through the experiment of restoring.Embargo Period 12 month

アーニョロ･ガッディによるサンタ･クローチェ教会主礼拝堂内の空間演出について: 壁画に用いられた工芸的装飾技法と堂内に射す陽光の関係から

フィレンツェのサンタ ･ クローチェ教会主礼拝堂内に描かれた壁画『聖十字架物語』には，金属箔が贅沢に使われた 工芸的装飾技法の痕跡が至るところに確認できる。壁画の誕生から600 年あまりが過ぎた現在では，その大部分が剥落や黒変 による劣化で，当時の姿を目にすることはできない。同壁画に導入されたこの技法は，ただ単に画題の原典であるヤコブス・ デ・ウォラギネによる「聖十字架伝」のサイクルに基づく，描写対象の神的人格のための表現や描写モチーフのメタリックな 表現にしたがっただけのものではない。作者であるアーニョロ・ガッディが，堂内を金属箔による神聖なる光の空間に演出す るために，同技法を用いた画面を効果的に配した可能性が考えられる。本研究ではまず，工芸的装飾技法の復元を通して金属 箔の光の効果を実証的に明らかにした。次に，礼拝堂内に射す陽光と壁画内の同技法の分布から，アーニョロによる礼拝堂内 の空間演出について考察した。We can see the vestiges of decorative art techniques in which metallic leaves are lavishly used in ‘The Legend of the True Cross’ painted by Agnolo Gaddi in the Basilica of Santa Croce, Italy. However, since the birth of the fresco to the present day (more than 600 years later), the majority of the colors have faded or turned black and we are unable to see it’s original form. The implementation of these techniques into the fresco is not just a desire to create a metallic motif or decoration for expressing deific subjects inspired by the cycle in ‘The Legend of the True Cross’ by Jacobus de Voragine. I hypothesize about the possibility that Agnolo Gaddi used these metallic leaf techniques efficiently to create a sacred space of light inside the Basilica. In this study, I first demonstratively showed the visual effects of the light of the metallic leaves through restoring the decorative art. Then I discuss how Agnolo Gaddi presented the space in the church through his allocation of these techniques within the fresco in conjunction with the sunlight within the main chapel.Embargo Period 12 month

Sourcing Strategies of European and Japanese Multinationals: A Comparison

Based on a typology of sourcing strategies, this study identifies various sourcing patterns adopted by European and Japanese multinational manufacturing firms in serving the U.S. market, The study has found that the product's market performance is not at all related to its life–Cycle stage in world trade or to production location, but is positively related to the internal components sourcing and negatively related to the product adaptation. The findings strongly support Levitt's call for a global product.© 1989 JIBS. Journal of International Business Studies (1989) 20, 113–130