著者

尼ケ崎 彬

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.38, no.1, pp.1-12, 1987-06-30

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Modern art, being not understandable for normal eyes, compels us to change the definition of "fine art." Now "art work" is "anything which is requested to be seen as an art work" rather than "the result of poiesis." We may say that fine art is the production of some aesthetic meaning on some object mediated by man's intentional action. There are some ways of mediation : making or replacing an object, claiming to see an object beautiful, etc. An aesthetic meaning can't be recognized without the peculiar "eye" for it. If an artist discovers a new type of aesthetic meaning, it always requires a new type of eyes to see it. Modern art has constantly stepped outside of the established aesthetic meaning system and developed new ones. Some artists are mainly interested in the liberation from their own intersubjective institutions by means of a sort of Verfremdungseffekt, which leads them to treat all sorts of established meaning system, not confined within aesthetic. Others are incessantly developing new style of aesthetic meaning which are difficult to understand with established eyes. They don't want spectators to fully understand their works, but to try to create ad hoc eyes and meanings for them. Because they know well that an aesthetic quality will lose its power when it becomes understandable.

著者

尼ケ崎 彬

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.31, no.4, pp.24-36, 1981-03-31

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According to Chinese traditional ontology, the universe was not created, but generated itself spontaneously. In the beginning, there rose from nothigness ch'i 氣-generative ether or life force-, which grew into forms and qualities, then developped into beings of all kinds. Ching Hao divided paintings into four classes, i.e. divine, excellent, eccentric and exquisite. He regarded the divine as the work of ch'i, and the rests as the work of man. At that time, painters were supposed to represent objects with 'resemblance'. In the opinion of Ching Hao, however, what matters is 'truth', not 'resemblance'. To see the truth of the object is to know the form and quality of it, that is, the way ch'i has generated it. Ssu 思-intuition and imagination-is indispensable for seeing the truth of the object and for imagining how the figure should be. As the painter endeavours to crystallize the image with ssu, the moment will come when a ch'i begins to operate at the tip of the brush. Just as ch'i generated the object with its form and quality, pi 筆-brush movement-generates a figure with the same form and quality as the object has. Pi is motivated by ssu, but led by the spontaneous force of ch'i. This correlation among ch'i, ssu and pi makes up the secret of divine works.