Copy - Mosha (English spelling)

Japanese: 模写 - もしゃ（英語表記）copy

A faithful reproduction of a work of art, or a reproduction that has been made. It is also called a copy. In the case of sculpture, it is usually called a copy. However, when an artist copies his own work, the words alternative or replica are used. The history of copying and copying is long, and many sculptures from the Greek period have come down to us thanks to Roman copies, even though the originals have been lost. Medieval art placed emphasis on protecting and passing on the tradition of formalized iconography rather than the free expression of individuality, so there was always an element of copying in the work of artists. In the Renaissance, artists began to make copies more often as part of their artistic training, such as the young Michelangelo who copied Masaccio. It was also during the Renaissance that the issue of authentication arose, such as whether something was an original or a copy, and Leonardo da Vinci's "Madonna of the Rocks," housed in the Louvre and the National Gallery in London, is a notable example. In modern times, artists such as Delacroix and Cezanne studied oil painting or drawing, but the works of Van Gogh, who repeatedly copied Rembrandt, Delacroix, Millet, and others, have their own artistic value. In today's world, with the development of sophisticated reproduction and photography, copying is no longer done as it once was for anything other than educational purposes, but there are examples such as Picasso, who often copied the works of Velázquez and Cranach. However, these were not copies in the strict sense, but rather were more of Picasso's own free creation.

Source: Encyclopaedia Britannica Concise Encyclopedia About Encyclopaedia Britannica Concise Encyclopedia Information

Japanese:

ある美術作品を忠実に再現すること，またはされたもの。模作ともいう。彫刻の場合は普通模刻という。ただし，芸術家自身が自分の作品を写し取った場合は異作あるいはレプリカという言葉を用いる。模写ないし模刻の歴史は古く，ギリシア時代の多くの彫刻が，そのオリジナルは失われたにもかかわらず，われわれに伝えられているのは，ローマ時代の模刻のおかげである。中世の美術は自由な個性の発露よりも定式化された図像表現の伝統を守り，これを継承することに重点をおいたため，芸術家の仕事には模写的な要素が常にあった。ルネサンス時代に入ると，マサッチオを模写した若きミケランジェロのように芸術的な修業のため模写することが多くなる。また原作か模作かといった鑑定上の問題が出てくるのもルネサンスからで，ルーブル美術館とロンドンのナショナル・ギャラリーにあるレオナルド・ダ・ビンチの『岩窟の聖母』はその顕著な例。近代ではドラクロアやセザンヌが油彩ないしデッサンで自分の勉強をしているが，特にレンブラント，ドラクロア，ミレーなどを再三模写したゴッホの作品は独自の芸術的価値をもっている。精巧な複製や写真技術の発達した現代では，教育的な目的以外ではかつてのようには模写は行われないが，ベラスケスやクラナハらの作品をしばしば模写したピカソのような例もある。ただしこれは厳密な意味での模写ではなく，ピカソ自身による自由な創作といった性格が強い。

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