著者

桑原 夏子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.2, pp.25, 2017 (Released:2019-01-02)

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My paper shows one of the textual sources for the wall painting of the temple of Fortuna Virile (the church of Santa Maria di Secundicerio) (Italy, Rome, 872-882) which presents the Marian cycle with her last days, the story of St. Basil and the story of Mary of Egypt. This is the oldest example, which presents the Last Days of the Virgin Mary - the Annunciation of the Death of the Virgin by Christ, the Departure of the Apostles, and the Arrival of the Apostles - therefore it is important to discover its textual source. First of all, I point out that one of the Apostles is departing from his grave to attend Mary’s death in the scene of the Departure of the Apostles. Secondly, I indicate that this unique episode is found in a Greek text, which is written by pseudo St. John in the early 6th century. All stories of this temple are based on the Greek texts, therefore this wall painting might suggest the lost Greek visual culture has been persecuted by iconoclasm in the Byzantine Empire.

著者

江藤 匠

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.2, pp.49, 2017 (Released:2019-01-02)

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Pietro Perugino wurde in den 1480er-Jahren von Theologen Baltori ein Altarwerk in Rom in Auftrag gegeben. Diese Kreuzigung, die nach ihrem Besitzer Fürsten Galizin Galitzin-Triptychon genannt wurde, ist eine Verbindung von den meditativen Bildthemen mit der naturalistischen Ästhetik. Schon wiesen F.Hartt und J.Wood auf einen großen Einfluß der niederländischen Malerei auf das Altarbild Peruginos hin. Aber sie nahmen keine Notiz von den gefühlvollen Figurendarstellungen von Hl.Maria und Hl.Johannes. Der Verfasser bemerkte die Ähnlichkeit zwischen dieser Figurendarstellung des Hl.Johannes und derjenigen in dem Triptychon von Niccolò da Foligno in der Pinacoteca Vaticana. Die Kreuzigung Niccolòs hat eine Zusammanhang mit derjenigen der Eyckischen Schule in der Cà d’Oro zu Venedig. Es ist bewährt, dass die Figurenkomposition dieser Kreuzigung das Abbild von der Kreuzigungsminiatur in jenen Heures de Milan ist. Niccolò da Foligno wird als einer der Meister Peruginos in seiner Umbrien-Zeit betrachtet. Aus diesem Grunde kommt es zu dem Schluß, dass Perugino für die Darstellung der Galitzin-Kreuzigung auch das Vorbild der Eyckischen Schule verwendet hat. Peruginos Altarbild konnte deswegen die Doppelfunktion eines Andachtsbildes erfüllen: die religiöse Versenkung und den optischen Charme.

著者

瀧川 美生

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.2, pp.61, 2017 (Released:2019-01-02)

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Bezmiâlem Valide Sultan Mosque (commonly known as Dolmabahçe Mosque, 1852- 1855, Istanbul) has not been properly valued in the history of Ottoman architecture. The prevalent view is that Ottoman mosques of the 18th and 19th centuries degenerated from the Golden Age because more importance was attached to decoration rather than structure under European influences, thereby breaking with the Ottoman tradition. However, this mosque shares, along with European elements, the following essential characteristics with the Ottoman mosques of the Golden Age: (1) The unified space of the prayer hall formed by the single dome without any elements dividing the space; (2) the effects of the surroundings and the opening of the prayer hall, as well as the overall construction of the mosque; and (3) The rectangle form topped by a semicircle found in every part of the mosque, like the building’s form, windows, piers, and arches, among others.

著者

藤本 奈七

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.2, pp.73, 2017 (Released:2019-01-02)

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Degas, famous for his dancer paintings, also intensively worked on landscapes in 1869, 1890-93 and c.1895-98. Previous studies emphasized elements of next-generation art such as Fauvism or Cubism appear in the arbitrary colors and distorted space in the landscapes depicted in Saint-Valéry-sur-Somme during the period of c.1895-98. This paper, first, compares the landscapes of c.1895-98 with of 1892 depicting scenery from moving train compartment. In the landscapes of 1892, it is clear that description of the foreground is vaguer than that of the background for speed of a train, and we can argue that this is also the case with the landscapes of c.1895-98. Second, through comparison of four Saint-Valéry-sur-Somme landscapes depicting the identical place with actual view, it will be shown that Degas drew them changing his standing locations on the same road. Seeing these in certain order, we have the impression that we walk further and further on the road as the hindmost house in each landscape is getting bigger. Thereby, it is concluded that Degas captured not only moving objects like dancers and racehorses but still objects which change by his move. Representation of such to-andfro motion is unique among his other landscapes.

著者

原 塁

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.2, pp.109, 2017 (Released:2019-01-02)

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This paper clarifies Japanese composer Toru Takemitsu’s usage of the repeat sign and considers the influence of other works from the same period and his aesthetic change. In the 1960s, Takemitsu uses the repeat sign in two ways. One of the usages works as the base of “Tone Cluster” and introduces high level “Indeterminacy”. The other is inspired by the technique of the Polish composer Witold Lutosławski and introduces low level “Indeterminacy” under the control of the composer. In the latter case, the repeat sign enables each player to play independently and creates the asynchronous sound. This usage is continued in the next decade. In the 1970s, a number of passages in which different cycles and tempi accumulate simultaneously are repeated. In spite of his instruction of tempi and notes, the entire sound cannot be predicted exactly, as each passage is repeated many times, so this repetition also introduces a controlled “Indeterminacy”. In the 1980s, Takemitsu came close to Steve Reich’s “Phase-Shifting” technique. Reich’s technique implies strong “Determinacy”, and thus we can see the change in Takemitsu’s aesthetic here. While in prior works, he placed more value on “Indeterminacy”, in this period, he treated “Determinacy” and “Indeterminacy” relatively.

著者

神地 伸充

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.1, pp.138, 2017 (Released:2018-07-01)

著者

清水 康宏

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.1, pp.139, 2017 (Released:2018-07-01)

著者

三島 理

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.1, pp.140, 2017 (Released:2018-07-01)

著者

山田 隆行

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.1, pp.141, 2017 (Released:2018-07-01)

著者

東口 豊

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.1, pp.142, 2017 (Released:2018-07-01)

著者

喜多村 明里

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.1, pp.143, 2017 (Released:2018-07-01)

著者

山下 晃平

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.1, pp.73-84, 2017 (Released:2018-07-01)

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This paper explores the Japan Ushimado International Art Festival held in Okayama Prefecture, Ushimado, every year from 1984 to 1992. Few papers have focused on the Japan Ushimado International Art Festival; moreover, art historians have not comprehensively explored this festival. Therefore, I clarify this festival as a whole through materials collected and interviews of the concerned people. I also examine this art historical condition. Furthermore, I consider the transformation and context of open-air art exhibitions in the 1980s Japan. Analyzing the content every time, we can determine the response to the problem of the transformation of “art work” and “display,” the dilemma of traditional large-scale art exhibitions in central Tokyo, finding that Japanese warehouses (Kura) as well as hills and harbors were being transformed into spaces for this exhibition. On the other hand, this festival references Ushimado’s local culture. Thus, the transformation of “art exhibition” such as the Japan Ushimado International Art Festival reflects not only the expansion of “art” but also the problem of the institution of “art.” This perspective indicates the aspect of post-modern Japan that cannot be overlooked.

著者

岸本 督司

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.1, pp.97-108, 2017 (Released:2018-07-01)

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Dieser Aufsatz behandelt die vom Architekt Adolf Loos während der Jahrhundertwende in Wien entworfenen Geschäftsgebäude. Bei den Häuser von Loos hat die geputzte Fassade den Effekt der schweigsamen Maske, die die Bewohner vor dem Lärm der modernen Großstadt schützt. Im Gegensatz zur dieser Maske wirken die Fassaden der Geschäftsgebäude vielmehr auf die Strasse und Platz, zu den sie hinausgehen. Dieser Aufsatz versucht zu beschreiben, wie die Wirkungen von drei Werken, das heißt dem Café Museum (1899), der Kärntner Bar (1909) und dem Looshaus (1911), verwirklicht wurde. Zunächst betrachten wir beim Café Museum die Effekte, die durch Material und Form den Fluß zwischen Räumen der Lokale und Strasse verstärkt. Dieser Fluß stimmt der Ornamentlosigkeit dieser Lokale zu. Im zweiten Beispiel hat die Kärntner Bar, eine der ersten amerikanischen Bars in Wien, auf ihrer Fassade ein Sternenbanner und eine darunter liegende Kolonnade. Diese Fassade repräsentiert die Verbindung der europäischen Tradition mit der von Amerika. Das Looshaus schließlich hat in seinem Wohnungsteil eine weiß geputzte und ornamentlose Fassade, die vom Wiener Publikum als Majestätbeleidigung der Hofburg gesehen wurde. Durch diesen Werk gelang es Loos den Stadtbewohner die architektonische und kulturelle Tradition der dieser grossen Stadt aufzuzeigen.

著者

望月 由衣

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.1, pp.134, 2017 (Released:2018-07-01)

著者

衣笠 弥生

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.1, pp.135, 2017 (Released:2018-07-01)

著者

山口 遥子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.1, pp.136, 2017 (Released:2018-07-01)

著者

筧 菜奈子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.2, pp.124, 2016 (Released:2018-01-01)

著者

髙藤 大樹

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.2, pp.125, 2016 (Released:2018-01-01)

著者

高木 駿

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.1, pp.13, 2017 (Released:2018-07-01)

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In the First Book of the Critique of the Power of Judgment (1790), judgments of taste which state the beauty are based on a subjctive ground, or the feeling of pleasure, so that they are not logical cognitive judgments which constitute “a cognition of the object through concepts of it” (V 211) but aesthetic judgments. Therefore, they cannot state truth or falsehood of themselves as logical cognitive judgments do. However, Kant uses the expression of “a false (or an erroneous) judgment of taste (ein irriges Geschmacksurteil)” (V 216). If this “false (or erroneous)” is not logical one, what does it mean? About what are judgments of taste false? Now, we have three leading interpretations of judgments of taste to resolve these questions, i.e. interpretation from an epistemological, moral, aesthetic point of view. But I think that the first two interpretations are not successful, because they contradict Kant’s statements in some points as I will show. Thus, in this paper by adopting the aesthetic interpretation of judgments of taste I shall answer the questions concerned, namely argue that the falsehood (or error) of them consists in choosing an inappropriate feeling of pleasure for the ground of judgments of taste.

著者

金田 千秋

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.1, pp.25-36, 2017 (Released:2018-07-01)

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I would like to nominate the thoughts of Hermann von Helmholtz, a celebrated German physiologist and mathematician in the nineteenth century, as a framework for interpreting sculptor Adolf Hildebrand’s great work, ‘Das Problem der Form in der bildenden Kunst’ (1893). It can be clearly inferred from Hildebrand’s letters that he had inspected Helmholtz’s popular papar on the non-Euclidean geometry system. The concept of the “plane” in this paper was decisive. Helmholtz’s thinking experiment, “Can an insect with only plane perception crawling on an egg recognize its three-dimensional curved surface?”, probably influenced Hildebrand’s sculpture-aesthetics, which analyzed the shapes of objects with a series of concepts, “face”, “layer”, “face layer”, etc. Helmholtz’s insight that “The world is made of flat surfaces” had thus profoundly affected the sculptor. What kinds of human abilities are needed to perceive the composition of the world? At the end of the eighteenth century, a controversy broke out between Immanuel Kant and the followers of Gottfried Leibniz about whether to lay the foundation of space on “intuition” or “intuition and concept”. However, Hildebrand’s involvement in this history made him confront the conflict between “intuition” and “intuition and concept”, which unexpectedly led to a serious political and racial problem.