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)

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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.

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)

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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.

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)

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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.

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)

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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.

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)

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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.

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)

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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.

著者

浅沼 敬子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.3, pp.133, 2007-12-31 (Released:2017-05-22)

著者

石田 圭子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.3, pp.134, 2007-12-31 (Released:2017-05-22)

著者

柳沢 史明

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.94, 2007-09-30 (Released:2017-05-22)

著者

樋笠 勝士

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.95, 2007-09-30 (Released:2017-05-22)

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.2, pp.95-96, 2007-09-30 (Released:2017-05-22)

著者

神林 恒道

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.96-97, 2007-09-30 (Released:2017-05-22)

著者

吉田 直子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.3, pp.1-13, 2007-12-31 (Released:2017-05-22)

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In this paper, I examine Kant's conceptions of civilization and culture, which beautiful arts and sciences promote. In the 18th century, Rousseau blamed arts and sciences, because they let human beings collapse morally. On the contrary, Hume appreciated them, for they promote sociability and are the beginning of civilization. In Observation and Universal History, Kant shared the view with Hume. He thought that a feeling of honor and unsociable sociability which were human nature promoted civilization. Having the feeling of honor, one can take another standpoint and be socialized. In this view, beautiful arts and sciences are of public value. In Kritik der Urteilskraft (1790), Kant argued about culture from the standpoint of teleology. There, he thought that civilization was inadequate for ultimate end of nature. Because civilization do no more than acquire skill and there is no will. In teleology, Kant interprets that culture of discipline, which arts and sciences promote is ultimate end, for the pleasure that is universally communicable in arts and sciences makes human civilized (gesittet). I point out that in concept of culture of discipline Kant attached importance to arts and sciences. By them we can make unique community.

著者

柳沢 史明

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.3, pp.14-27, 2007-12-31 (Released:2017-05-22)

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Les arts chez Georges Bataille sont souvent lies a la conception ontologique et existentielle d' "angoisse". L'angoisse, pour Bataille, est le sentiment d'un danger qui visite l'homme qui s'affronte a la mort. Par ailleurs, en eveillant les attentions sur la mort habituellement cachee, elle est aussi le sentiment de l'attente de franchir la vie quotidienne et "un monde avare". Toutefois, bien que l'intention d'introduire les elements de mort (i.e., l'angoisse, la souffrance et la douleur) soit cruciale dans la vie quotidienne, il faut eviter que la vie soit menacee excessivement. Et alors, pour raison d'equilibre entre la vie et la mort, Bataille dit qu'on doit recourir aux "tricheries", c'est a-dire, aux arts. Selon Bataille, le pouvoir de l'art concerne l'effet d'evocation. Compte tenu de l'usage de (revocation), qui autrefois principalement signifiait "appeler les morts par la magie", Bataille considere l'evocation comme une apparition intime de ce qui n'est ni substantiel ni accessible. La mort en est un exemple. Par l'evocation, qui est un procede indirect mais done assure la vie, l'art permet aux hommes l'acces inacheve a la mort. activement et volontairement.

著者

田中 均

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.1-14, 2007-09-30 (Released:2017-05-22)

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In this paper, I investigate the relationship between love and art in the novel Lucinde. First, I analyse two cases of disappointments in love experienced by the young painter-and protagonist-Julius, which are symbolised by certain aesthetic defects:Lisette could not respond to Julius' love because of her life as a prostitute, which corresponds to her sensualistic tastes. Likewise, Julius' fruitless love for a married woman gave rise to a strained style to his painting. Second, I focus on his relationship with Lucinde, in which they completely affirmed each other's individuality. The reconciliation with his own life through love brought grace and maturity to his art. This should be interpreted as the realisation of 'the romantic', which is defined in Schlegel's essay 'Dialogue on Poetry' as a combination of 'the sentimental' and 'the fantastic'. Third, I turn my attention to the distinction by Julius between male and female love. He believes that, in contrast to female love which is concentrated only towards one object, a man can develop friendships between multiplicities of mature spirits and thus complement his own individuality. From this, I draw the conclusion that, in this novel, a female artist is excluded from the artistic cooperation.

著者

玉村 恭

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.15-28, 2007-09-30 (Released:2017-05-22)

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Kamo no Chomei is well known as a Japanese medieval recluse. This paper is aimed at reading his essays "Hojoki" and "Hosshinshu", and tries to rethink the relation between his reclusive life and poetry. The concept of reclusion for him was not necessarily related to how far he was removed from the capital nor what he did in his hermitage. Rather, the question was his state of mind, the extent to which his mind was detached from the usual worldly context and interest (kyokai or kyogai) such as social, political, and economical, of which people's circumstances consist and by which their daily cognitions are led. On the other hand, according to his notion of transience (mujo), nothing is certain other than the fact that people sense and feel various things and move their hearts variously. Thus, what was crucial in his reclusive life was how he could deal with his mind and heart. In those respects, poetry was for him one of the most important elements on which to base his reclusive life, because poetry, it has been admitted, does not have any worldly purpose nor interest at all; it is barely to express how people's hearts are moved.

著者

松野 敬文

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.43-56, 2007-09-30 (Released:2017-05-22)

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Balthus' admirers often maintain that the artistic quality of his works originates not only from his association with the iconographies of Western classical paintings but also from his depiction of human figures in the old masters' style. This paper, however, tries somewhat conversely to put forward as a hypothesis that their uniqueness lies rather in their lack of naturalism. Through the stylistic analysis of La Montague (L'Ete), one of his actual works as a material, it will be shown here that his anatomically inaccurate treatment of human figures and his trick of making up for this have actually made his artistic characteristics. As it can be easily seen from this large-sized work, many formal problems arise when Balthus composes human figures: improbable centre line of the body of the half sitting man, unnatural connection at the invisible neck of the standing woman, the wrong position, on the ground, of the legs of the sleeping woman, and totally, the unnaturalness of all standing figures. Characteristically, these deficiencies are concealed by various techniques such as the strict formation of the picture plane, the accurate arrangement of colours, and the magnificent depiction of a landscape as well as the topographical revisions and the handling of the light source. La Montague (L'Ete) can be accordingly considered as a suitable guide to study how his figures relate to landscape, and what influence the painter's technical poverty brings to his works.

著者

呉 永三

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.57-69, 2007-09-30 (Released:2017-05-22)

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The purpose of this study is to contribute to the research on the development of the Eight Views of Hsiao-Hsiang in terms of the sequence appeared in Korea and Japan since it had been introduced from China each around 12^<th> and 13^<th> century. The sequence of the Eight Views in these two countries had changed in order of four seasons, due to various reasons. Within this study touching subjects here, suggested reasons are two, which are derived from the change of form and content of the painting. First, the change of form is that hand scrolls on which the Eight Views were represented in china become to be painted on folding screen as the Eight Views spreads over Korea and Japan, which means they need the model of more sophisticated composition for this new theme. Through from 14^<th> to 15^<th> century, models for the composition of the Eight Views in folding screen seem borrowed from four season landscape painting. As a natural result, the sequence of folding screen was arranged in order of four seasons. Second, there was also a change of the content of the Eight Views. On the one hand, criticism against government and personal sadness originated in Hsiao-Hsiang literature having long demotion history was replaced by applause for good government and ideal nature particularly in Korean and Japanese Eight Views in relation to the development of folding screen, which is more official form to the public and person of power. On the other hand, seasonal color of Mountain Market in poetry had been fixed into spring, which gave the Eight Views of Hsiao-Hsiang more seasonal characteristics with Evening Snow and Autumn Moon.

著者

長谷 規子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.70-83, 2007-09-30 (Released:2017-05-22)

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Les dix-huit quatuors a cordes de Darius Milhaud (1892-1974) tiennent une place particuliere non seulement dans toutes ses ceuvres mais aussi dans toute la musique de chambre du XX^e siecle. Du fait que Milhaud s'explique sur le quatuor a cordes comme un genre musical representant le mieux ses intentions profondes et que lui et ce genre allaient cote a cote pendant quarante ans, nous pouvons considerer que le quatuor a corde est un genre intime pour le compositeur. Dans cet article, nous allons examiner ses quatuors a cordes des annees 1930 et 1940 de point de vue technique et stylistique pour mettre en evidence leur importance. L'etude d'un ensemble de quatuors a cordes de Milhaud nous a permis de montrer une evolution considerable : il emploie assez souvent des passages empechant la continuite de la piece au niveau melodique, rythmique et harmonique. Ce serait une des techniques musicales de Milhaud propres a cette epoque. D'ailleurs, la technique ellememe evoluera peu a peu la forme musicale et deviendra un element imposant dans sa musique. Elle s'appliquera plus tard a des autres pieces de sa musique de chambre.

著者

大石 昌史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.2, pp.84-86, 2007-09-30 (Released:2017-05-22)