著者

今村 信隆

出版者

京都造形芸術大学

雑誌

若手研究(B)

巻号頁・発行日

2017-04-01

---

ミュージアム(特に美術館)における声という問題を扱う本研究では、博物館学はもとより、美学・美術史や美術批評史といった幅広い分野にまたがる資料にあたる必要がある。本年度は、そのなかでも議論の出発点になると考えられる一七世紀フランスの絵画論を中心に精読を行い、問題点の整理を試みた。その結果、次の二点が明らかになってきた。第一に、当時の代表的な絵画理論家であるロジェ・ド・ピールとアンドレ・フェリビアンの対話編のなかで、話者たちの声、話しぶり、会話における洗練度などが、議論の運びそのものにも影響を与えるような重要な要素になっているということである。このうち、ド・ピールについてはすでにある程度の指摘をしたことがあるが、フェリビアンについても同様の指摘が可能であることが判明した。第二に、しかしその一方で、王立絵画彫刻アカデミーにおいて口頭で行われていたはずの「会議」においては、話者の声色や話しぶりといった要素は削減され、あくまでも文書として刊行することが目指されていくというプロセスが、明らかになった。アカデミーにおいては、口頭でのやり取りのなかにあった多様な意見の存在が整理され、批判とそれに対する反証というかたちで、統一の見解がもたらされようとしているのである。このことは、制度としてのアカデミーにも大いに関わる問題であり、同時に、美術作品をみるという制度としても、以後の鑑賞経験の土台になっていく出来事であると考えられる。上記の二点の関係については、現在、まとまった論考を準備しているところである。また、本研究の終着点にあたると思われる20世紀の美術批評史についても、本年度はクレメント・グリーンバーグを中心に再整理を試みた。特に、比喩としての「詩」が議論される個所において、朗読や声が本質的でないものの例示として語られていることが見いだされ、今後の研究の指針が得られたところである。

著者

今村 信隆

出版者

北海道大学文学研究科

雑誌

北海道大学文学研究科紀要 (ISSN:13460277)

巻号頁・発行日

vol.157, pp.49-74, 2019-03-29

著者

今村 信隆

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.49-60, 2015

---

The main purpose of this paper is to examine Roger de Piles' Conversations (1677), not only as the consistent theory of paintings, but also as a story, where the characters communicate with each other, looking for some steady grounds for consensus of their tastes. In the first part of Conversations, three characters discuss the proper taste and correct judgement on paintings. Pamphile, the instructor, firstly shows that, in order to obtain sane judgement, it is necessary to argue about various paintings with others, but at the same time not to accept their opinions without the conviction that they are reasonable. However, there is no further explanation of this seemingly important concept, "reasonable" in the whole book. Instead of such detailed explanation, Pamphile affirms that one has to build his taste on the basis of the Antique works' taste which is amended by Nature. Three additional characters in the second part, that is, Caliste, Leonidas, and Philarque respectively can be considered as advocates of the Antique works, Nature, and the Antique works amended by Nature. Here, de Piles do not ask whether each kinds of taste is fundamentally reasonable or not, but depict Caliste as a failure in this honnete conversation.

著者

今村 信隆

出版者

京都造形芸術大学

雑誌

京都造形芸術大学紀要

巻号頁・発行日

no.19, pp.57-69, 2014

著者

今村 信隆

出版者

北海道大学大学院文学研究科

雑誌

北海道大学大学院文学研究科研究論集 (ISSN:13470132)

巻号頁・発行日

no.4, pp.1-17, 2004

著者

今村 信隆

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.49-60, 2015-12-31 (Released:2017-05-22)

---

The main purpose of this paper is to examine Roger de Piles' Conversations (1677), not only as the consistent theory of paintings, but also as a story, where the characters communicate with each other, looking for some steady grounds for consensus of their tastes. In the first part of Conversations, three characters discuss the proper taste and correct judgement on paintings. Pamphile, the instructor, firstly shows that, in order to obtain sane judgement, it is necessary to argue about various paintings with others, but at the same time not to accept their opinions without the conviction that they are reasonable. However, there is no further explanation of this seemingly important concept, "reasonable" in the whole book. Instead of such detailed explanation, Pamphile affirms that one has to build his taste on the basis of the Antique works' taste which is amended by Nature. Three additional characters in the second part, that is, Caliste, Leonidas, and Philarque respectively can be considered as advocates of the Antique works, Nature, and the Antique works amended by Nature. Here, de Piles do not ask whether each kinds of taste is fundamentally reasonable or not, but depict Caliste as a failure in this honnete conversation.

著者

今村 信隆

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, pp.164, 2013-12-31 (Released:2017-05-22)

著者

今村 信隆

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.2, pp.14-27, 2005-09-30 (Released:2017-05-22)

---

The theory of paintings argued by Roger de Piles(1635-1709) laid more emphasis on visual pleasure of paintings than its function of instruction. Therefore, while many contemporaries considered judgement on paintings to be inseparable with such criteria as historical facts, theological validity, geometric correctness of perspective, and verisimilitude borrowed from poesy, de Piles insisted that such criteria were not the essential parts of painting. For de Piles, the fundamental principle of paintings consists in its visual effect and the ability to imitate things. If so, however, one critical problem remains unsolved : how could de Piles describe paintings without these criteria? In this paper, I will show following points as to this problem. First, his description was not exclusively aimed to reconstruct a narattive from which the subject matter of a painting was taken: rather, it aimed to cover experience of viewing paintings. Secondly, de Piles inserted into his descriptions views of his own which was warranted by not some universal criteria but his taste or imagination. Finally, while explanation of paintings by many contemporaries intended to determine absolutely valid views of paintings, what he attempted in his descriptions was to persuade his readers by means of his words.

著者

今村 信隆

出版者

北海道大学北方生物圏フィールド科学センター植物園

雑誌

北大植物園研究紀要 (ISSN:13471333)

巻号頁・発行日

vol.3, pp.57-62, 2003-03

著者

今村 信隆

出版者

北海道大学大学院文学研究科北方研究教育センター = Center for Northern Humanities, Graduate School of Letters, Hokkaido University

雑誌

北方人文研究 = Journal of the Center for Northern Humanities (ISSN:1882773X)

巻号頁・発行日

vol.6, pp.1-27, 2013-03-31

---

It is often said that since the modern art theories and oil paintings had been introduced into Japan in the beginning of the Meiji era, animal paintings by Japanese oil painters have been relatively rare. From the 1930s to the early 1940s, however, animal subjects in Japanese oil paintings have exceptionally increased both in quality and quantity. Mainly discussing this period, the argument of this paper shows that for some oil painters who were born in Hokkaido, animal subjects were one of the chief ways to meet the requirement of “local color”. IGUSHI Kaichi (1911-1955), born in the north-east part of Hokkaido prefecture, often painted animals of his homeland. Some of his works in the 1930s, paintings of seals or foxes, were interpreted by his contemporaries as a typical representation of his homeland, and the painter himself referred to his own ambition to depict some “local color”. KUNIMATSU Noboru (1907-1994), one of the most famous animal painters in Hokkaido, also has included animals such as birds and dogs in his works since the 1930s. OGAWARA Shu (1911-2002) started his career as a surrealist. But in the early 1940s, as his style was shifted to more north conscious one, he depicted some animals. In order to paint wild cranes from life, UENOYAMA Kiyotsugu (1889-1960) explored frozen fields in the east coast of Hokkaido from the mid 1930s onward. His Japanese crane paintings show disconnection from traditional crane subjects in Japanese-style paintings. Hokkaido prefecture, the northernmost part of Japan, has not only the unique fauna but also some prominent painters who have frequently depicted animal subjects.