著者

乾 由明

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.10, no.2, pp.48-62, 1959-09-30

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Representation of the three dimensional space on the plane is an attractive, but difficult subject for many painters of all the ages. It seems that the linear perspective, devised by Quattrocento architects and painters in Italy, is the most exact and popular method of spatial representation. But there are other ways to depict the illusion of space in the picture. Roman landscape paintings, for example, show an atmospheric pictorial space. If we classify the representation of the space into three types that is, one on the retina by the function of eyes (visio perspectiva), on the plane by the linear perspective (scientia perspectiva) and on the canvas by the creative painters (ars perspectiva)-ancient style of the spatial representation corresponds the type of visio perspectiva. It is, of course, a characteristic style in art history, but has possibility to develope in two ways, one to the linear method of perspective of Renaissance, the other to the uncontinuous ideal space of Middle Ages, especially Byzantine and Romanesque paintings.

著者

小林 信之

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, 2012-12-31

著者

渡辺 護

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.24, no.4, pp.21-32, 1974-03

著者

渡辺 護

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.25, no.1, pp.30-40, 1974-06

著者

小河原 あや

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, 2011

著者

高橋 陽一郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, pp.1-12, 2013

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Fur Schopenhauer war die Philosophie nicht sowohl eine Wissenschaft als vielmehr eine Kunst. Aber von dem hat er in seinem Hauptwerk keines Deutliches erwahnt. Im Nachlass der fruheren Periode seines Denkens hat er aber vom Konzept der "Philosophie als Kunst" deutlich geredet. Demnach ist die Philosophie ein Ergebnis vom "bessren Bewusstseyn" als einem Vermogen, das die kiinstlerische Kontemplation und die moralische Tugend verwirklicht. Durch diese Anschauung uber die Philosophie wurde die Schopenhauersche Philosophie konzipiert. Den kunstlerischen Moment des Hauptwerkes kann man in seiner organischen Struktur finden, "wo das Ganze jeden Theil erhalt und (…) umgekehrt auch jeder Theil das Ganze und alle andern". Diese Struktur selbst ist eine Schonheit. Aber mehr hat die Struktur bei Schopenhauer die Bedeutung als Form, die uns die "Ideen der Welt" oder "einen einzigen Gedanken" anschauen lasst. Die Welt als Wille und Vorstellung (1818/19) wurde eben gemaig der Schopenhauers Anschauung uber die Philosophie vollendet. Die wahre Vollendung der "Philosophie als Kunst" besagte, keine Spuren des Konzepts derselben zu hinterlassen.

著者

井面 信行

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.44, no.1, pp.36-46, 1993

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Die Interpretation der Malerei beginnt mit dem Sehen. Das Sehen, nach Max Imdahl, der "Ikonik", vertrat besteht aus zwei Modalitaten-"das wiedererkennende Sehen" und "das sehende Sehen". Nicht durch das wiedererkennende Sehen, sondern durch das sehende Sehen wird die der bildenden Kunst eigene Erfahrung geoffnet. Wahrend das wiedererkennende Sehen die Sachwirklichkeit in der Malerei sieht, sieht das sehende Sehen die Ausdruckswirklichkeit in derselben. Bei dem Portrat gilt die Sachwirklichkeit fur die Figur als solche, die Ausdruckswirklichkeit fur die Figurenerscheinung. Jene soll "Gebilde" genannt werden, diese soll "Bild" genannt werden. "Bild" ist die optisch autonome, immanent geregelte Struktur der Malerei. Deshalb wird die der Malerei eigene Erfahrung nur im "Bild" ausgefuhrt. "Bild" ist mit "dem sehenden Sehen" untrennbar verbunden. Denn "Bild" reflektiert nichts, was stetig besteht und ausserhalb des Bildes fixiert ist. Daher bedeutet "Bild" eine neue Wirklichkeit, die nur durch die Malerei realisiert werden kann. Was Picassos <<Bildnis D. H. Kahnweiler>> betrifft, gilt sein gegenstandsfreies Facettensystem als "Bild". Dieses Facettensystem erlangt die Bildstruktur, die durch die sprachliche Reprasentation unerreichbar ist. Jedoch muss "Bild" von der Sprache beschrieben sein. Demnach geht es der kunstgeschichtlichen Interpretation um die neuen Fragen nach dem Verhaltnis zwischen Bild und Sprache.

著者

井面 信行

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.32, no.2, pp.55-65, 1981-09-30

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In seinem Buch "Das Problem der Form in der bildenden Kunst" behandelte A. Hildebrand das Problem der kunstlerischen Form. Die vom Kunstler gestaltete Form muss nicht mit der Nachahmung der Natur, sondern mit der architektonischen Gestaltung im Zusammenhang stehen. Wobei soll das Wort Architektur nur als Bau eines Formganzen oder als ein organisches Ganzes von Verhaltnissen verstanden werden. Die architektonische Gestaltung ist in unserem raumlichen Auffassungsvermogen, d.h. in der sehenden Fahigkeit des Menschen begrundet. Indem die Gesichts- und Bewegungsvorstellung beide zu einer Einheit werden, die sich geltend fur den Gesichtssinn macht, gebracht, wird die Form erst zu einer kunstlerischen, die Autonomie gewinnt. Der Begriff der architektonischen Form gab A. Riegl ein Feld, in dem er die geschichtliche Entwicklung der Form beschreiben konnte, und der zugleich die Kunstgeschichte von innen aus zu schreiben moglich gemacht hat. Von Riegl ist der Begriff "Form" zum Begriff "Stil" gefuhrt worden ; die Erhellung der geschichtlichen Gesetzmassigkeit der Form ist die Untersuchung des Stils. Doch kann diese Gesetzmassigkeit weder aus der Tatsache der Kunstgeschichte noch aus der Gultigkeit des Gestaltungsprinzips erfasst werden. Um diese beiden zu vereinigen, ist der Begriff "Kunstwollen" erforderlich geworden.

著者

利光 功

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.27, no.3, pp.23-34, 1976-12-30

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Soetsu Yanagi (1889-1961), who was the founder of Japanese folkcraft movement, defined Mingei (=folkcraft) as the following ; 1. things made for the domestic life of the people, 2. things made to be used, not to be looked at, 3. things made in quantity, 4. things made as cheap as possible, 5. things made by anonymous unlettered craftsmen. It is nothing but a traditional ordinary handicraft, and to see its beauty, following him, we must reject the criterion of beauty of the pure art which is based on the individualism. The beauty of folkcraft is born of use, simple, healthy, and common. Then Yanagi insists that the true beauty is not the antithesis of ugliness, but the non-dual beauty which transcends the duality of beauty and ugliness. That is just the idea of beauty from the standpoint of Buddhism or Zen. This paper is an attempt to criticize his theory.

著者

辛 那〓

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.53, no.3, pp.28-40, 2002-12-31

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In this Paper, I examine the relationship between criticism on modernization and the system of modern art in the Mingei Movement, clarifying Yanagi's thought on the ideal art and his strategy which he used to make the Mingei Movement successful. I argue, first, that Yanagi understood the relation between things and human beings not on the basis of dualistic relation as the subject and the object, but on the basis of harmonious one that human nature was reflected in the things which were used by the human beings. Therefore, he developed the Mingei Movement, criticizing the way of thinking of modern people who gave too much importance to reason and logical knowledge, and the system of modern art which was isolated from daily life. His Mingei Movement, however, was performed in a modern way exceedingly, so it made use of an advantage of the modern art structure sufficiently. Accordingly, I will conclude that even the Mingei Movement in itself is a kind of modern art movement that succeeded in drawing the public attention by using the system of modern art well.

著者

相澤 照明

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.45, no.2, pp.1-11, 1994

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Adam Smith says that when we sympathize with others, we exchange with them not only our "circumstances" but also our "persons and characters". Or, in the words of Samuel Taylor Coleridge, sympathy contains the dynamic element of "mental metamorphosis". My purpose in this paper is to demonstrate how, in the eighteenth century, there existed a theory of literary creation to the effect that a dramatist or novelist writing in direct speech can be, for some moments, sympathetically identified with even an evil person, and make a speech in the character of that person. For example, Thomas Twining, whose fame as a translator and commentator on Aristotle reached Germany, drew on the theories of imitation developed by Plato and Aristotle to submit a theory of dramatic imitation involving the act of speaking or writing "in the character of another person." Somewhat later, William Hazlitt called attention to our unconscious act of speech in dreams, likening them to the art of the ventriloquist ; in other words, one who dreams is not aware that the others who speak to him are, in fact, but a metamorphosis of the dreamer. Using this analogy of "ventriloquism" occurring in dreams, Hazlitt tried to represent the power of a genius to metamorphosize himself involuntarily into another character.

著者

大石 昌史

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.60, no.1, pp.16-29, 2009-06-30

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My paper is divided into three parts. The first is entitled 'Theories of the image', where I argue about the intermediate position of image between intuition and conception, representation and meaning, imagination and feeling, and demonstrate that the image is not a real object, but it has peculiar reality on the basis of the given meaning through apperception and the affective conviction of its existence. In the second part, 'The formation of signifying image', I introduce Ingarden's theory of a purely intentional object, and Iser's interactive reading theory. Ingarden argues about the complementary concretization of represented object, but Iser criticizes him and insists the image-building through an interaction between reader and text. In the third part, 'The appearance as symbol', and the Conclusion, I deal with Kant's and Schiller's theory of the beauty as symbol, and point out that the concept of the outer symbol of the inner feeling has the same logical and psychological structure with the Empathic aesthetics. Based on this structure, the being and the meaning of aesthetic object are interlaced and the artwork appears as a <self-signifying image>, which is different in its inner becoming process from Hegel's similar definition of the classic beauty of art.

著者

舩木 理悠

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.97-107, 2015-12-31

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Gisele Brelet (1915-73), a French musicologist, is known for her study of time in music, Le Temps musical - essai d'une esthetique nouvelle de la musique (1949). Accordingly, earlier studies of Brelet are mainly focused on her concept of le temps musical, and few evaluate her aesthetics in a historical context. This paper aims at placing Brelet in that context by examining her remarks on Eduard Hanslick (1825-1904), the author of Vom Musikalisch-Schonen (1854), known as the father of modern musical aesthetics. Brelet argues that Hanslick's aesthetics is negatif, and claims her work can renovate it. First, this paper analyzes Brelet's statements to show how she interprets Hanslick's theory as 'temporal.' Second, it analyses her interpretation with reference to Hanslick's text, before pointing out the lack of attention given to 'the temporal', which later led to the negligence of it in musicology, consequently causing many difficulties in this field today. This paper concludes that Brelet's aesthetics, criticizing the weak points in Hanslick's theory, enable us to view the problems in modern and contemporary musical aesthetics in a new perspective.

著者

松井 美智子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.45, no.3, 1994-12-31

著者

松田 聡

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.45, no.2, pp.p12-22, 1994-09

著者

秋丸 知貴

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, 2010-12-31

著者

早川 恭只

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.97-108, 2012-12-31

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Many films which take disasters like earthquakes as their subjects are fictional. And life goes on (1992) is a movie about the big 1990 earthquake in Iran. However, fiction and reality are interwoven equivalently by Kiarostami. This truly reflects his own style of making films. The earthquake really hit a place where Kiarostami had shot a previous film, and And life goes on is just a fiction based on reality, in which a cineaste who is an actor travels with his son to ask the safety of previous cast members. This film can pretend to be a documentary, but includes the exposure of being fiction, and its fictional images are contrasted by the views of the devastated area and victims' narration. However, the local children seem to play what they should be beyond themselves and their roles in the film. In such their self-direction, we can recognize a truth about children who have got not only a victims' desire to continue living and their daily lives but also the film makers' desire to expect such a situation. The evidence of a child's life can be brought to such interstice between fiction and reality, where the difference between them melts and fuses.

著者

平塚 弘明

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.55, no.3, 2004-12-31

著者

太田 純貴

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, 2014-06-30

著者

河合 大介

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, 2011