著者

浅倉 祐一郎

出版者

西田哲学会

雑誌

西田哲学会年報 (ISSN:21881995)

巻号頁・発行日

vol.2, pp.110-127, 2005 (Released:2021-01-16)

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Throughout his life the philosopher Nishida Kitaro (1870-1945) made references to art in his writings. On occasion the references were quite slight and on other occasions more profound. I think we can infer from this that art had a certain importance in the formation of his philosophy. It is helpful to divide the development of Nishida's philosophy into four periods. The First Stage, J unsui-keiken (pure experience) refers to the immediate or intuitive apprehension of the world about us. In the Second Stage, Jikaku (self-awareness) Nishida deals with self-awareness in the apprehended world, here Nishida was considerably influenced by the famous scholar of aesthetics K. Fiedler (1841 -95). Turning logically from this comes the Third Stage, Basho (place) here Nishida concludes that true selfawareness occurs when one sees oneself as one really is, as a place (Basho) existing in the greater or deeper'place'of the apprehended surrounding world. The Fourth Stage flows naturally from this as the Bensyohoteki-sekai or dialectical world which is the world questioned and examined in relation to these first three principles, that is pure immediate experience, to which is added self-awareness refined to Basho in the philosopher, which eventually leads to a new viewpoint on the actual world. It is when we come to the Fourth Stage that we find the principal influence on Nishida changes, partially leaving behind the theories of K. Fiedler and becoming increasing influenced by the work of J. Harrison (185 0| 1928) whose theories on reality and the historical world may have caused this change in emphasis. Nevertheless the theories of K. Fiedler remained important in relation to Art Theory. I believe that the third Basho stage is the most important in understanding the development of his idea s. Historically scholars have also believed that. However they have so far tended to neglect the r elation between Nishida's thought and art on this Third Stage, attaching far more importance to the second and fourth periods. But for me the Third Stage re , mains probably significant, revealing as it does a process of fundamental change between thought and art.