文献一覧: 05200962 (ISSN) - Ceek.jp Altmetrics

En 1887, Louis Courajod, conservateur dans le musee du Louvre, inaugura ses legons sur l'histoire de la sculpture du Moyen Age et de la Renaissance a l'Ecole du Louvre. Cela fit date dans l'histoire de l'enseignement de l'histoire de l'art en France, parce que le Moyen Age, meme retrouve par les Romantiques, etait considere comme une periode toujours peu estimee dans l'mstitution des Beaux-Arts au XIX^e siecle. Son cours, fortement empreint de nationalisme, avait pour but de rehabiliter des arts du Moyen Age. Il proposa les conceptions originales de l'histoire de l'art : d'une part la Renaissance est l'heritiere du Moyen Age, d'autre part l'art gothique est issu de l'art grec. Le Moyen Age frangais, inclus entre l'Antiquite grecque et la Renaissance italienne, fut ainsi privilegie dans son discours de l'histoire de l'art. Pourtant les theses de Courajod provoquerent beaucoup de controverses. II defendit la notion de Renaissance franchise, en combattant l'hegemonie italienne sur ce terrain. Dans la recherche des origines de l'art francais, il mit en valeur les sources orientales et barbares, en les opposant aux sources latines. Developpant des arguments antiacademiques, l'historien cherchait a fonder une nouvelle conception de l'art national.

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1 0 0 0 OA 明治二十一年意匠条例と応用美術思想について

著者: 天貝義教
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.58, no.3, pp.42-54, 2007-12-31 (Released:2017-05-22)

In 1888 the Japanese government promulgated regulations relating to designs (Isho-jorei) to promote native industry and encourage the development of the idea of applying art to industry. At this time members of the Dragon Pond Society ('Ryuchi-kai') emphasized the significance of the application of art to industry in their articles published in art journals, 'Dai-nippon Bijutsu-shinpo', 'Ryuchi-kai Hokoku' and 'Nihon Bijutsu-kyokai Hokoku'. In 1884 Hirayama Narinobu introduced C. Laboulaye's theory of industrial art and in 1885 Kawase Hideharu gave an explanation of applied art. From 1886 to 1888 Hirayama Eizo translated selected passages from J. Falke's book, F. Kanitz's book and G. Semper's book on the problems of relationships between form and ornament in industrial products, hi 1887 Yamaoka Jiro emphasized the needs for applying art to industrial products and in the same year, after the Tokyo Industrial Exhibition (Tokyo-fu Kogei-hin Kyosin-kai), Shioda Masashi strictly criticized many artists and manufacturers, who exhibited their industrial products in the exhibition, for designing products based on wrong applications of art. By stressing the idea of applying art to industry as design theory they intended to reform industrial art and to give aesthetic order to various technical developments in Japan.

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1 0 0 0 OA 久保田桃水筆『大坂風景画帖』における制作姿勢と粉本主義

著者: 柴田就平
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.58, no.3, pp.55-68, 2007-12-31 (Released:2017-05-22)

A circumstance where paintings of famous places (meisho-e) are created in the Shijo school is described based on an analysis of the subjects and the composition of each image in the "Album of Landscapes in Osaka". Second, the use of pictorial models (funpori) by other artists who belong to the Shasei (life drawing) schools surrounding Tosui is discussed. Third, the characteristics of paintings of famous places created by the Osaka Shijo school artists are examined in comparison with the Kyoto Shijo school artists. These descriptions clarify the working attitude of the Shijo school artists from the end of the Edo period to the Meiji period. In addition, how the album was adopted in the Osaka painting schools (Osaka Gadan) is also explained. Our descriptions provide a means by which the "Album of Landscape in Osaka" demonstrates the working attitude and principles of coping painting models in the Shijo schools during the pre-modern and modern eras. One may say that the album is the archetype of albums, reflecting the characteristics of people who used it in Osaka at that time. All of these things make clear a wide range of the working attitudes and activities of the Shasei schools from the end of the Edo period to the Meiji period.

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1 0 0 0 OA 恩地孝四郎のカンディンスキー受容 : 「抒情」形成の過程において

著者: 西川啓司
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.58, no.3, pp.69-82, 2007-12-31 (Released:2017-05-22)

In dieser Abhandlung soil Onchis Rezeption von Kandinsky, die in vorangegangenen Forschungen unklar geblieben ist, erklart werden. Zunachst tritt Kandinskys Einfluss, z.B. was die Moglichkeit betrifft, durch Gemalde-wie in der Musik-nicht greifbare Gegenstande darzustellen, mehr in seiner Kunsttheorie, als in seinem Werk selbst in Erscheinung. Er erhoffte sich, mit seiner Rezeption von Kandinsky die Kunst von Yumeji Takehisa oder der Zeitschrift "Shirakaba" zu iibertreffen. Als Onchi auf der Suche nach seiner eigenen Kunst und seinem Leben als Kunstler war, studierte er gerade Yumejis "innere Bilder (Uchi yori kaku e)" und Saneatsu Musyanokoujis "Das Ich (Jigay. Und so nahm er sich Kandinsky zum Vorbild, der in sich beides vereinte. Da Onchi in seiner Rezeption den Kern der abstrakten Darstellung verstanden hatte, beschrankte er sich nicht darauf-wie die tibrigen Ktinstler seiner Zeit-nur die auBere Form der europaischen Kunst nachzuahmen, sondern schaffte es mit dem ersten abstrakten Werk in der modernen Kunstgeschichte Japans eine gro£e Tat zu vollbringen. Dies ist die wichtige Bedeutung bei Onchis Rezeption von Kandinsky.

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1 0 0 0 OA 都市新中間層にとっての「でろり」 : 一九二二年岸田劉生個人展覧会における麗子像の展示を中心に

著者: 中間志織
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.58, no.3, pp.83-96, 2007-12-31 (Released:2017-05-22)

Kishida Ryusei(1891-1929) held the private exhibition at the house of Nojima Yasuzo(1889-1964) in 1922. This exhibition seems so significant because the recent works which depicted his daughter Reiko were exhibited, and the most of them included the characteristic as 'Derori' which Ryusei often mentioned in his essays. Though researchers have considered the meaning of the works as 'Derori' from the producer's point of view, this paper discusses the meaning of these works from the audience's point of view. The first section mentions that the audience of the private exhibition generally includes the educated middle class elite, who had close relation to the artists and the art world at that time. The paper then analyses the display appealing the portraits of Reiko as 'Derori', and by investigating Ryusei's diary and the catalogue the audience includes a few upper class men and the educated middle class men who were very interested in the avant-garde art. Finally, making reference to the article about representation of the 'girl' in modern Japan, it intends the possibility of function of portraits of Reiko as 'Derori' as the mirror which reflected the identity of the urban educated middle class men.

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1 0 0 0 OA カンタベリー大聖堂 : 一一七四年の火災後の建築

著者: 愛宕出
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.58, no.3, pp.97-110, 2007-12-31 (Released:2017-05-22)

The architecture of Canterbury cathedral by William of Sens after the fire of 1174, which is known in detail by Gervase's description, shows many irregularities in its presbytery. They have been interpreted by many scholars as changes of conception which reflect changes of cathedral monastery's attitude toward the cult of Becket, whose shrine is to be set in the middle of Trinity Chapel. We don't agree with such iconographical interpretations, and think that those irregularities can be explained almost exclusively by constructive and administrative restrictions. In fact, William of Sens seems to have no definitive conception of final form, and sometimes indigenous masons make arbitrary decisions. In his last phase William of Sens are inspired by this situation and abandon logical method of French Gothic. William the Englishman who follows William of Sens, at last, adopts this English way of flexibility.

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1 0 0 0 OA ショパン『幻想曲』の<マーチ>

著者: 三浦洋
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.58, no.3, pp.111-124, 2007-12-31 (Released:2017-05-22)

Chopin's Fantasy op.49, which can be regarded as a masterpiece representing his 'last style', has received increasing attention from his researchers for last twenty years after the long-term disregard. Those researchers have been engaged in both the analysis of Fantasy's structure and the inquiry into the background of its composition. Actually there are various ways to analyze Fantasy's structure. One finds the classical sonata form in the piece, another finds no particular form, and another recognizes the rondo form or the circular form. In this paper, I attempt to explain the unity of the piece by tracing the modification of the characteristic melody line, and suggest that the 'march' in Fantasy's introduction functions as a motto of the whole piece. It must be remarked that the 'march' derives from Kurpinski's Litwinka which was called 'a song of upset' in the 19th century. When Chopin cited the song in the 'march', he presumably sympathized with the May 3rd-constitution-movement which was developed by exiles from Poland in Paris, hoping for the restoration of their father-land. Moreover Chopin composed two other 'marchs' which has something to do with Polish history. So, there is a possibility that those three 'marchs' reflect Chopin's attitude toward historical realities.

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