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

The original coloring materials are remaining at arts and crafts in the 7th century to the 8th century, those coloring materials have been keeping use for ornaments of arts and crafts till the 17-18th century. In documents of the 7-8th century we can find many descriptions about coloring materials, it appears there was limitation to use coloring materials. I try to point out the reason of restriction to use coloring materials that is because of chemical character. There is no research which analyzes quality and characteristic of coloring materials themselves, and insists that chemical changes and chemical reactions cause restriction to use of coloring materials. Even if we analyze optically arts and crafts, we can't point out what coloring materials were used to perfectly. So it's necessary to refer documents which record how the coloring material was used, and in which amount used. In consideration of descriptions of documents and decorations examples of arts and crafts and chemical character of coloring materials, I would like to indicate that the restrictions to use of coloring materials are caused by the compatibility and the aptitude of the coloring material.

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1 0 0 0 OA バウハウスの舞台概念をめぐって : シュライヤー、グロピウス、シュレンマー

著者: 青木加苗
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.57, no.3, pp.29-42, 2006-12-31 (Released:2017-05-22)

Although Lothar Schreyer, who had some initial theatrical experience at the Sturm in Berlin, first headed up the Bauhaus theater workshop, the ideas and concepts of the workshop have been commonly associated with the other master of the workshop, Oskar Schlemmer. Schreyer left the Bauhaus because of discord between his work and the orientation of the Bauhaus under the direction of the first director Gropius. There is, however, the apparent influence of Schreyer in the theatrical concepts which Gropius stated several times, even after Schreyer's resignation. On the other hand, Gropius also had some ideas, which were not similar to Schreyer's, but closer to those of Schlemmer. In this paper, the characteristics of each master's theatrical concept are examined and compared with that of Gropius. Schreyer's theater can be defined as "a function to transmit implications" and Schlemmer's as "internalization of principles." With these classifications, it becomes possible to review the workshop in its early years, and demonstrate that inconsistency between Schreyer and the Bauhaus existed from the beginning. Yet, it is also true that while Schreyer left the Bauhaus, his concepts and ideas did not completely disappear: even in Schlemmer's theatrical concept, the influence of Schreyer can still be found.

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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(第五十七回美学会全国大会発表要旨)

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.57, no.3, pp.50, 2006-12-31 (Released:2017-05-22)

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1 0 0 0 OA 古賀春江「海」(一九二九)と<溶ける魚> : プロレタリア美術/マックス・エルンスト/バウハウスと転回する「機械主義」

著者: 長田謙一
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.57, no.2, pp.29-42, 2006-09-30 (Released:2017-05-22)

In recent years, researches concerning the representative work of Koga Harue's Surrealism, Umi (1929), have pinpointed the sources to the various images portrayed therein. But, they have only deepened its enigmatic character. This paper, however, sheds new light on Koga's art. Constituted in combination with an analogue of a girl in swimsuit (right), the industrial machine imagery (top left) holds an important significance decisive to the understanding of the work's composition and meaning. The source to this image is found in the blast furnace photograph published in the German popular science journal, "Wissen und Fortschritt" (1927-10). Yanase Masamu's CAPITALISMUS too is understood to have been based on the same blast furnace Herrenwyk (Lubeck) photograph, anticipating an affinity between Koga and Yanase. Further, the introductory poem by Koga reveals how a "revolving of the world" image, akin to that of proletariat art, cuts across Umi. But, what is more important with regards Koga's "revolving" image is the collage hier ist noch alles in der schwebe (1920) by Max Ernst. "Soluble Fish" (^military vessel pouring out smoke and whose bowels are transparent=smoke-bellowing ship), with moorings in Ernst, becomes a symbol of the principle in Koga's surrealistic painting and appears frequently in a number of works post-Umi. On the bottom left of his second representative work, Sougai no Keshou (1930), there is an allusion made to a photograph of the metalwork studio of Bauhaus. From a "Romanticism of the machine" of the Umi to a "Realism of the machine" (Itagaki Takaho), as evident in the allusion to Bauhaus, Sougai no Keshou shows how Koga's "Mechanism" underwent a huge gyratory motion.

2021-01-27 15:13:00
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1 0 0 0 OA ブルレにおける新音楽の時間的統一性 : 沈黙と瞬間を媒介として

著者: 佐藤真紀
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.57, no.2, pp.57-69, 2006-09-30 (Released:2017-05-22)

La musique nouvelle acheve de s'affranchir des ordres tonals, et la se revele l'abondance de la matiere sonore. Mais la suffisance du son, elle fait la musique discontinue. La discontinuite pourrait etre met en danger de reduire l'oeuvre musicale a neant. Alors, Brelet trouve l'unite du temps dans la musique nouvelle pour vaincre la negation de soi. C'est le silence et l'instant de donner le moment de l'unite du temps. Le silence n'est jamais le neant, mais une source originelle ou sommeillent toutes les virtualites sonores, et fait ressortir l'instant sonore, centre sur lui-meme, dans son autonomie et sa suffisance. La suffisance de l'instant libere l'auditeur du souvenir et de l'attente pour le concentre sur "le maintenant" de l'instant. Et chaque instant s'est renouvelle perpetuellement par l'imprevisibilite du temps reel. De la, on trouve l'unite du temps vivant. Ce n'est rien d'autre que le temps musical chez Brelet.

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1 0 0 0 OA 舞台装置家シンケルと世界の「舞台」化 : 《魔笛》背景案による空間演出を中心に

著者: 長野順子
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.57, no.2, pp.70-83, 2006-09-30 (Released:2017-05-22)

Karl Friedrich Schinkel, the pre-eminent architect of 19th-century Prussia, also worked in other areas, for example, landscape painting, diorama (then fashionable) and city planning (Berlin) . Returning from the Grand Tour, Schinkel began to work with the Gropius company, scenic designers, on panoramas and dioramas. Using new optical techniques, he tried to recapture his sublimely dislocating experience in the Italian landscape, that had altered his very sense of his own body. He thought he could apply these techniques directly to theatrical set design, which, through pictorial near-illusion, would transport the spectators into the imaginary quasi-reality of the drama. Schinkel's outstanding stage designs for The Magic Flute are the pinnacle of his accomplishment as a scenographer. As superintendent of the Berlin city planning department, he extended his theatrical conceptions to the wider spheres of architecture and urban design. In conceiving the Berlin cityscape as a stage setting, he was a precursor of the politics of spectacle.

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1 0 0 0 OA 舞踊作品の同一性について : 「つくる者」の観点から(東部会平成十八年度第一回例会,例会・研究発表会要旨)

著者: 柿沼美穂
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.57, no.2, pp.87, 2006-09-30 (Released:2017-05-22)

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1 0 0 0 OA ロジェ・ド・ピールと遠近法 : ある幾何学的理念の批判のかたち(東部会平成十八年度第二回例会,例会・研究発表会要旨)

著者: 渋谷拓
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.57, no.2, pp.89, 2006-09-30 (Released:2017-05-22)

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1 0 0 0 OA 近現代美術館におけるテーマ的展示方法の導入と展開 : テート・モダンのコレクション展示例を中心に(東部会平成十八年度第二回例会,例会・研究発表会要旨)

著者: 高木友絵
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.57, no.2, pp.90, 2006-09-30 (Released:2017-05-22)

2021-01-27 15:13:00
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