著者

佐野 みどり

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, 2011-12-31

著者

礒山 雅

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.26, no.3, pp.52, 1975-12-30 (Released:2017-05-22)

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In seiner Stillehre ist J. Mattheson ein Nachfolger der Musikschriftsteller des Barockzeitalters, das Bukofzer "the era of style-consciousness" nannte. Darin spiegelt sich auch die Neigung des deutschen Geistes nach Luther wider, dass die Krafte des Schaffens durch Vertiefung der Selbstreflexion immer erneuert werden. In seinem Hauptwerk "Capellmeister" ist der Stil als Typus der Schreibarten begriffen, und durch dreierlei Einteilungen ist ein System gebaut. Wahrend die erste Einteilung, die eigentlich auf Ort und Funktion, hier aber auf der Absicht der Musik beruht, eine fuhrende Rolle spielt, unterordnen sich der ersten die zweite, die der Qualitat der darzustellenden Affekte entspricht, und die dritte, die auf Struktur und Form beruht. Jede einzelne Art des Stils gilt als gegenwartige Kunst im Schaffen und soll als Voraussetzung der rationalen Arbeitsgange der Barockkomponisten gewahlt werden. Matthesons Stillehre wurde in der Zeit geschrieben, wo der Stil sich bis zur aussersten Grenze in die "Kunst" verwandelte. Sogar der Nationalstil, der einst bei dem Urteil als eine Gegebenheit gegolten hatte, wurde mit in diesen Strom hineingerissen, so dass musikalische Ausdrucksmittel zum unerhorten Reichtum gelangten. Damit fangen aber Grunde der Stilunterscheidung zu wackeln an, mittlerweile erschien die Neigung, allgemeine Musiksprache festzusetzen, so dass der Stilbegriff sich zur Auflosung wandte.

著者

橋本 綾子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.20, no.2, pp.10-39, 1969-09-30 (Released:2017-05-22)

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Okyo Maruyama (1733-95) was the first to profess himself to be a realist in the history of Japanese pictorial art. Having studied the western method of the perspective through "Megane-e" picture, he was forced to face consciously with Japanese tradition in respect to the materials, motifs, and sense of space in the course of painting. There may be found in this point the primary moment in building up his original style. In his later years, however, he went through the process of returning to the tradition. Therefore, my attempt in this paper is to follow the development of his style, study every stage in his life, and contemplate some problems inherent in his style. For a chronological order I have made use of not only his 214 pieces of work, including 197 whose painting dates are already made public, but also his early works bearing his sign alone. By analysing the style of Kacho-ga (paintings of flowers and birds) which are typical of each period, I have divided 45 years of his activity (from the age of 17 to 63) into four periods. His style is considered to have been established by 1765 when he painted "Sessyo-zu" (a pine-tree covered with snow). The following period ending in 1776 was the style-developing stage. Reformations in his style were perfected in 1777 and years of maturity followed down to 1791. The final stage continued thereafter until his death in 1795. Okyo entered upon his career with taking lessons in the Kano school. After studying perspective, he aimed at the three-dimensional expression of the objects. The next period began at the time when the purpose was realized in "Sessyo-zu". He succeded gradually in building up his unique style which shows decorative composition of objects painted as they really are : "Fuji-zu" (wisteria) is an artistic perfection in this period. His interest in drawing lines appeared in the third period, developing itself into a plain composition by simplified forms, and this trend was accelerated in the course of Shoheki-ga age after 1784. In the fourth stage lines and stuctuctural power grew stronger than ever, and with the drying up of his sentiment he was seen, under his concentrated power of construction, to go back to the "Kanga" style showing structural space with a tinge of the Kano school. Considered from these developments, it seems that Okyo adopted the method of perspective only as a mean of visual effects without understanding the lying rationalism of western science. I have examined what bearing this fact has on the current thought of later Edo period and particularly on the pictorial ideas of Okyo.

著者

石関 正史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.49, no.3, pp.32, 1998-12-31 (Released:2017-05-22)

著者

森田 優子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.59, no.2, pp.72-85, 2008-12-31

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The cycle of Sts. George, Jerome and Tryphon for the Scuola Dalmata was executed by Vittore Carpaccio in ca. 1502-1511. The Vision of St. Augustine of the cycle is based on the apocryphal letters. Compared with the examples of same subject and the representations of the other study, it reveals that this work is different from the traditional iconography. The setting of study and chapel focused on both the contemplative life and the daily work of bishop. It finds also the details which demonstrate a kind of collectionism. These become the factors which remind anyone's portrait. When we concern on this problem, it's important to see it in the patronal context. The production of the cycle has been inspired by the donation of the relic by Paolo Vallaresso, and it's also important to remember that Maffeo Vallaresso is the archbishop of Zara. He is the humanist-ecclesiastic, interested with the art, which recorded in his letters. On considering these factors, the setting of study and art-conscious details, in the contemporary context, so it can say that the St. Augustine's study is intended to allude the intellectual and ecclesiastical figure of Maffeo Vallaresso.

著者

山田 英彦

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.9, no.3, pp.60-62, 1958-12-25

著者

森 洋子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.34, no.4, pp.25-40, 1984-03-31 (Released:2017-05-22)

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David Garrick dedicated for Hogarth's tombstone an epitaph with the inspired words, "pictur'd Morals". The present author interprets these words as being the embodiment and the key to Hogarth's art. This paper will discuss how Hogarth intended to warn - and to preach to - viewers of his prints about human vices that could be traced back to the medieval Christian iconography of "Seven Deadly Sins". For this purpose Hogarth chose the subject matter of his prints from topics of contemporary newspapers and journals, that is, "modern moral Subject". In my opinion "Pride" can be found in The Bench ; while "Gluttony" in Plate VII of Industry and Idleness, may have been inspired by Bruegel's Fat Kitchen. "Luxury" is one of the main vices in Hogarth's Progresses. The marriage of the Rake with an old, one-eyed, rich but ugly maid reminds one of the Northern tradition of "an unequal couple" of which the most popular pictures were painted by Cranach. Also, Hogarth's A Rake's Progress might be compared with Jacques Callot's series The Prodigal Son which faithfully illustrated a well-known parable. However, Callot's Prodigal Son has a happy ending, while Hogarth leads his Rake-and most of his other protagonists-to a tragic death as a result of their vices. Finally the author will point out that the works of Hogarth's contemporary, Jonathan Richardon (The Theory of Painting, Essay on the Art of Criticism and The Science of a Connoisseur), may have been theoretical sources for Hogarth's notion of the utility of painting, namely for the entertainment and the improvement of the mind. Previous authors have seemingly overlooked this important relationship.

著者

佐藤 守弘

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.51, no.2, pp.37-48, 2000-09-30 (Released:2017-05-22)

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Edo doro-e is defined as a group of landscape paintings which were produced in the late Tokugawa period using Western linear perspective and pigments called doro-enogu, especially the newly imported Prussian blue. The object of representation was mainly various famous places of Edo, especially feudal lords' residences (daimyo yashiki). The aim of this paper is to analyze the function of doro-e and locate it as a form of visual culture in the social context of the period. Through the iconographical and formal comparison with topographical representation of ukiyo-e landscape prints by Utagawa Hiroshige, the characteristics of doro-e can be defined as images that macroscopically portray the city's eternal and physical aspects with a rational gaze. Based on this definition, the function of doro-e is understood as the representation of the city of Edo as the capital of warriors, an image of the city in the imagination of lower-status warriors who came to Edo through the system of alternate attendance of feudal lords.

著者

松友 知香子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.57, no.1, pp.42-55, 2006-06-30

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Unter den ca. 9.000 Werken von Paul Klee gibt es ca. 180 Bilder, in denen die "Stadt" thematisiert wird. Diese Werke konnen die "Stadt-Bilder" genannt werden. In der bish-erigen Forschungsgeschichte wurde aber auf diese Bildergruppe nicht achtgegeben. Es wurde auch nicht uberlegt, welchen Sinn diese Bilder haben. Bei der naheren Betrachtung ergibt sich, dass diese Stadt-Bilder in drei verschiedenen Epochen hergestellt wurden, und der Charakter der Bilder in diesen Epochen von einander differenziert wird. In der vorliegenden Arbeit wird zunachst versucht, einen Uberblick liber diese Stadt Bilder zu werfen. Dann werden die Bilder in der dritten Epoche eigens in Betracht gezogen, da der von Klee verstandene Sinn der "Stadt" mit der Entwicklung seiner Welt- und Naturanschauung erst in dieser Epoche in der reifen Form zum ktinstlerischen Ausdruck gebracht wird. Um diese Interpretation mit dem konkreten Beispiel zu belegen, wird das representative Werk Klees, "Ein Blatt aus dem Stadtebuch", aufgenommen und ausfuhrlich analysiert. Es wird am Ende klar, dass Klee die in der modernen Stadt verborgene Spannung zwischen der Erde als dem Diesseits und dem Himmel als dem Jenseits mit der symbolischen Figur einer "Scheibe" und durch eine gewisse Farbenkombination als Folge seiner "Farbenlehre" darstellt.

著者

喜多 恵美子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.2, pp.41-54, 2004-09-30 (Released:2017-05-22)

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Japan experienced an unceasing furor of the art Informel movement in the late fifties. Around the same time, in Korea, pictorial art works of the Informel style caught the spirit of then generation The "Informel" movement in Korea was largely different from that seen in Japan in that the Informel movement in Korea had little direct contact with French Informel movement, while in Japan, a series of articles on the Informel movement and art works were introduced to the public and even Michel Tapie who originally pronounced the philosophy of Informel visited Japan. Korea developed their own interpretation of Informel in total uniqueness, and as a result, succeeded in freeing themselves from the long-established framework of the world of fine art which had been full of restraints. Korean art circle interpreted Informel in the context of Korean culture, throw off the limitations of the world of art, and at the same time, won internationality and contemporaneousness, and finally, took off for the new realm of contemporary art.

著者

塚本 博

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.44, no.1, pp.47-57, 1993-06-30

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A Venezia, nell'eta di transizione tra la fine del Gotico e l'apparire delle forme rinascimentali, ci sono alcuni quadri di "Madonna col Bambino dormiente". Nelle pitture di Giovanni Bellini, dei Vivarini (Antonio, Bartolomeo, Alvise), di Cosme Tura, si trovera questa iconografia. Mezzo secolo fa G. Firestone ha detto che questa iconografia e la prefigurazione della Pieta. Recentemente anche S. Ringbom e H. Belting hanno proposto l'idea nuova del Cristo morto come origine della Pieta, secondo il saggio di E. Panofsky. Riassumendo queste indagini, l'autore ha preso in considerazione la formazione del Bambino dormiente. Dapprima nel polittico veneziano c'era una combinazione di Madonna col Bambino (centro) e il Cristo morto (cimasa). Nella seconda meta del XV secolo nel Veneto apparve la prospettiva ed il polittico si trasformo sempre di piu nella pala. Quindi i Santi da posizioni laterali entrarono nello spazio centrale prospettico, ma il Cristo morto della cimasa tende ad essere separato dalla pala. In siffatta ambientazione, i Vivarini che tradizionalmente dipinsero la Madonna col Bambino e il Cristo morto concepirono la rappresentazione della Madonna col Bambino dormiente includendo la vita e la morte di Cristo. Il processo della formazione di questa iconografia lo vediamo fra il polittico di Bologna e la pala di Napoli. Secondo l'autore Piero della Francesca dipinse la pala che si trova a Brera ispirandosi a quella di Napoli di Bartolomeo Vivarini.

著者

桑原 俊介

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.1-12, 2015-12-31

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In dieser Abhandlung wird bewiesen, dass die Erweiterung der Wahrheit seit der sogennanten "probabilistischen Revolution" (Hacking) Mitte des 17. Jahrhunderts, die Ausdehnung derselben von der (strengen) "Wahrheit (veritas)" zu der "Wahrscheinlichkeit (probabilitas, verisimilitudo)", ein Moment fur die Entstehung der Asthetik Baumgartens gewesen ist. Das wissenschaftliche Wissen (scientia) blieb, besonders seit Descartes, streng auf die Wahrheit beschrankt, die nur durch die deduktive Demonstration ermittelt wird, wahrend die Wahrscheinlichkeit, die nur durch die "Autoritat" oder "Billigung" durch andere bestand, vom Bereich des wissenschaftlichen Wissens vollkommen ausgeschlossen war. Jedoch, wenn der Wahrscheinlichkeitsbegriff durch jene Revolution mathematisch oder statistisch, also quantitativ neu formuliert werden wurde, wurde das Wahrscheinliche nicht nur in der Mathematik sondern auch in der Logik als "der Grad der Wahrheit" quantitativ behandelt werden konnen. Es konnte ein Moment fur die Entstehung der Asthetik Baumgartens sein, dass er diesen quantitativen neuen Wahrscheinlichkeitsbegriff in seine Asthetik aufgenommen und mit ihm den Begriff der "verisimilitudo" in seiner eigenen Weise bestimmt hat.

著者

調 文明

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.85-96, 2010-12-31

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This paper aims to consider how photography can incorporate "imagination" in itself despite the fact that it is limited to representing something in front of a camera. For this consideration, the nineteenth-century British photographer H. P. Robinson is the key figure, because he continued to think the relationship between photography and imagination throughout his photographing career. In Pictorial Effect in Photography (1869), he regarded imagination as faculty for composing something that did not exist, for example, angels. He insisted, therefore, that a photographer violated fitness as a picture-maker when he depended on imagination. But in The Art and Practice of Silver Printing (1881), Robinson focused on a photographer as a picture-viewer and turned to look upon imagination as faculty for forming a picture of something as it should be. Moreover, Robinson implied in Picture Making by Photography (1884) that when the photographer's imagination was stimulated by something instantaneous that was fixable only by gelatin plate, he might try to set up an event in the real world as it looked instantaneous and to photograph it. In my reading, Robinson believed such an operation of imagination enabled the photographer to demonstrate his imagination without violating fitness.

著者

金子 啓明

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.41, no.1, pp.p27-38, 1990-06

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Kanso (to contemplate and envision) is to bring a particular image to mind and concentrate one's consciouness on it, thereby aiming at acquisition of more profound religious experience. It is one of the important means of self-discipline in Esoteric Buddhism. The painting of Fudo Myoo (Acalanatha) and his Two Boy Attendants, dating from the second half of the eleventh century, and popularly known as the "Ao (Blue-bodied) Fudo, " was produced based upon the "Nineteen Contemplations on Fudo, " a type of Kanso on Fudo Myoo which contains the soul of Esoteric Buddhist thought. The monk in self-discipline facing the Ao Fudo, which is the object of his contemplation at the Kanso, is supposed to master the keynote of Esoteric thought while branding the image on his mind.

著者

田中 麻帆

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.137-148, 2015-06-30

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Contemporary artist David Hockney's (b. 1937) trips to Japan were connected to the works he created in the 1970s and 1980s. However, prior studies have not analysed these works in detail. This report re-examines Hockney's interest in Japan by collating the Japanese art that he encountered during his travels. Some scholars identify the works that Hockney created after first visiting Japan in 1971 as the impetus for his moving beyond naturalistic composition based on one-point perspective. This report additionally compares his works with Japanese paintings he may have encountered and indicates their similarity in terms of techniques depicting time. In the 1980s, Hockney created collages of photographs, which require time to shift the viewer's gaze across multiple points of focus. He called this visual sense "reverse perspective". Although preceding studies have referenced 'reverse perspective' theory, they have lumped together Chinese and Japanese art. Hockney has stated that his visit to Kyoto's Ryoan-ji Temple inspired his "reverse perspective" theory, the background of which requires further examination. Hockney explained this theory by referring to Chinese scrolls; however, when his works from that period are analysed in detail, they reveal that he might also have gained knowledge from his exposure to Japanese scrolls.

著者

片山 学

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.46, no.3, 1995

著者

入江 繁樹

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.59, no.2, pp.16-29, 2008-12-31

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This paper focuses on the production theory which was presented by YANAGI MUNEYOSHI (1889-1961), the leader of the Japanese Mingei movement. Analysing the contradiction of this theory, I indicate his unique view on the modern civilisation. In the 1920's, he insisted on the revaluation of Japanese traditional folk-crafts, and renamed them Mingei. According to him, the essential aesthetic quality of Mingei is the unconscious beauty (mushin-no-bi), and this beauty can not be created any more by modern artist-craftsmen who are too self-conscious. But, in the meantime, YANAGI demanded that these artist-craftsmen supervise Mingei production and conduct folk-craftsmen who are actual producers of Mingei. Is this YANAGI's methodological fallacy? Rather, we should think that this is an unavoidable paradox on the Mingei production. In YANAGI's view, aesthetic appreciation should be based on the modern consciousness and the latter is indispensable even when we appreciate the unconscious beauty of Mingei. Therefore, he could not help placing the modern artist-craftsmen as leaders in the Mingei production. In short, he thought that the "nonmodern" beauty of Mingei should be paradoxically realised in the gaze of the "modern" men.

著者

六人部 昭典

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.53, no.1, pp.43-56, 2002-06-30

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Quelle est la touche qui caracterise les tableaux de l'impressionnisme? Feneon a d'une part critique la touche de l'impressionnisme comme "un sabrage au pinceau". D'autre part il a considere la touche de neo-impressionnisme en tant que l'equivalent de tache colorante, et il a denie la matiere dont tout la touche devrait etre. Cependant la touche n'est que l'entite substantielle ainsi que la couleur d'huile qui reste sur une image en tant que la matiere. La matiere de la touche nous indique le mouvement de la main de peintre en reproduissant l'objet. Les impressionnistes ont tente de peindre leur sensation en employant la touche. Ils ont voulu substantialiser leur sensation sur l'image en passant par la matiere ainsi que la couleur d'huile. La valeur de l'impressionnisme et l'idee de la touche peuvent etre trouvee dans cette conclusion.

著者

荻野 哉

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.51, no.1, pp.13-24, 2000-06-30

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In this paper, I prove that C. Baudelaire developed his thought in the field of art criticism, by breaking with the theory of the imitation of nature and improving the image of "modern art". First, I analyze the concept of romantisme (romanticism) emphasized in Salon de 1846, and prove that Baudelaire's view of art is closely related to his estimation of E. Delacroix's paintings, which are regarded as "the most actual expression of beauty." Second, I analyze a new development of Baudelaire's ideas in the late 1850's. What I regard as important is two concepts, surnaturalisme (supernaturalism) and imagination (imagination). The latter is a faculty which can govern nature and create a new world. Finally, I take up Le Peintre de la vie moderne (1863), in which C. Guys's supernatural art is highly regarded. Baudelaire's manner of estimating it is similar to the manner Delacroix's paintings were treated. I make this similarity and its significance clear by comparing the concept of modernite (modernity) emphasized in Le Peintre de la vie moderne with his early theory of art, and by comparing Guys's genie (genius) with Delacroix's imagination.

著者

金田 民夫

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.11, no.2, pp.27-35, 1960-09-30

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Herder talks about the problem of the reality in arts in his Plastik, which is, in a proper term, the objective reality of the sense of touch, implying both the vital reality conceived in the arts and the real function of arts referred to the social effect as is mentioned in his essays on poetry. It is clear that the vital reality finds its theoretical development in the existentialists' aesthetics, and the functional reality is succeeded by the Marxists' aesthetics. But the real could be perceived, from Herder's view, as being more synonymous with nature than the historical existence of human being. As for the real effect upon the social life, its teoretical demonstrations have not been sufficiently made. We can find indeed, at any rate, that Herder, in his theory of arts, suggests what is signified by the reality in arts.