著者

島田 有紀

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.3, pp.15-28, 2005-12-31 (Released:2017-05-22)

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The standing screens on the title is the oldest work extant of KANO Motonobu's work as folding screens of thick colored flowers and birds with golden background. This thesis designates that the scenery and the motif of the work are in correspondence with both descriptions of the scenery of Pure Land in several Buddhist scriptures and the design of actual gardens. Firstly, a peacock on the right hand screen is focused to indicate the bird connotes the elements of auspicious birds in Buddhism, such as Mahamayuri and Kalavinka. Secondly, the elements of the scenery in the work, such as the four seasons at the same time - the depiction of perpetuity - and the existence of a pond, are identified with the description of Pure Land in Kwan-mu-liang-shou-ching and Ta-wuliang-shou-ching. These elements of the garden in the work are placed similarly to the Pure Land style gardens, which are illustrated in "Center and Surrounds of Kyoto" (Rakuchu-rakugai Zu)'s. In consideration of the above factors, the conclusion that, in the work, KANO Motonobu succeeded to portray the ideal garden by combining the scenery of Pure Land and that of actual gardens, is drawn.

著者

長尾 天

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.3, pp.29-42, 2005-12-31 (Released:2017-05-22)

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Yves Tanguy (1900-1955) is one of the most important painters of surrealism. His unique image, however, has never been concretely discussed. The purpose of this paper is to show the characteristic of Tanguy's image in surrealist contexts and to add a new aspect to the discussions about optical images of surrealism. According to Roger Caillois, surrealist image is "an image without assured, perceptible or unitary signification," and has an "infinite" structure which makes viewer's interpretations infinitely. This paper calls this kind of image an "obscure image." Most surrealist images are constructed by signs that have a defined and perceptible signifie, and these signs make gaps of meaning among each other to become an "obscure image" (the principle of "depaysement"). However, in Tanguy's image, signs that form his image do not have a defined and perceptible signifie. Moreover, that image is the perfect representation with three-dimensional illusion. For this reason, the viewer's interpretations caused by "infinite" structure are all nullified. The image of Tanguy is an image that could be resolved into nothing except for image itself. That is an extreme form of the surrealist image.

著者

天内 大樹

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.3, pp.50, 2005-12-31 (Released:2017-05-22)

著者

池上 健一郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.3, pp.51, 2005-12-31 (Released:2017-05-22)

著者

桜井 夕里子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.1, pp.28-40, 2005-06-30 (Released:2017-05-22)

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The Parma Gospel Book (Parma, Palatine Library cod. 5) is one of the well-known Tetraevangelia in Byzantine manuscripts, produced in Constantinople in the latter half the llth century. The main subject of this article is the layout of the Evangelists of "Maiestas Domini" (f.5r), the frontispiece for the four Gospels. From the above-left, clockwise, Mark, Matthew, John, Luke are situated. Below the framed picture, Peter, Paul, John the Theologian, and the emperor Trajan are flanked by the title of the Hypothesis. Being referred in the texts of the Hypothesis, they are placed under the related Evangelists. The point is that why not Matthew but Mark is situated at the beginning, contrary to the Gospel order. It is concluded that the painter can give Peter the top position by this replacement of Matthew to Mark. The emphasis on Peter is also found in the illustrations of the Life of Christ (ff. 91v-92v). The miniatures are placed at the beginning of Mark's Gospel, "dictated by Peter," for the emphasis on Peter.

著者

碓井 みちこ

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.1, pp.55-68, 2005-06-30 (Released:2017-05-22)

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This article deals with Alfred Hitchcock's Blackmail (1929) from the point of view of suspense and its exploration of cinematic sound and image. Blackmail has been regarded just as an experimental work of sound. Yet, we should rethink the use of suspense in Blackmail because the association between sound and image brings pressure more directly on the audience to experience uncertainty and anxiety. In a suspense plot, the audience identifies him/herself with characters, who are anxious about their fate and are bearing their misfortunes. In addition, we can find another pattern of suspense, in which the audience no longer empathizes with the characters per se. This suspense's real target of attack is the audience. Although in Blackmail we empathize with the heroine and her boyfriend, it nevertheless evokes our own anxiety rather than our empathy with characters. For example, the voice "knife, knife..." enormously compresses the heroine's anxiety and tears into the visual/aural representation of her ordinary life. This "knife" scene strongly intensifies our own anxiety rather than our empathy with her. In addition, the similar example of suspense is the use of the inaudible voice and invisible face of her boyfriend in a phone booth. This scene allows us to project our own expectations of what will be going on in the future scenario. We do not think that Hitchcock's narrative explanation is a limit of his film's abilities. Rather, his use of suspense expands the possibilities of cinematic representation and significantly changes the audience's alliance to the world of film.

著者

津上 英輔

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.2, pp.1-13, 2005-09-30 (Released:2017-05-22)

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Dear old things have a warm and bittersweet taste that is distinct from other tastes related to oldness like cold antiquity or sweet-and-sour recollections. This hitherto unnamed taste ought to be called nostalgia, because nostalgia today means an affectionate feeling for the past felt about a thing at hand, as its definitions in recent English dictionaries show. Nostalgia as defined above is an agreeable feeling conveyed through the senses. Since it is equivalent to what aesthetics has called the aesthetic or an aesthetic category, nostalgia deserves a due place in the discussion of aesthetics. Recognition of nostalgia as a theme of aesthetics is expected to contribute much to this discipline. Its primary contribution lies in aesthetic's enlarged scope, because our knowledge of feeling and perception (aisthesis) advances through it. Its secondary benefits include encouraged specialized investigations into the expression of nostalgia in works of art and avoided political exploitation of nostalgia by revealing the fictitious character of the "past."

著者

今村 信隆

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.2, pp.14-27, 2005-09-30 (Released:2017-05-22)

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The theory of paintings argued by Roger de Piles(1635-1709) laid more emphasis on visual pleasure of paintings than its function of instruction. Therefore, while many contemporaries considered judgement on paintings to be inseparable with such criteria as historical facts, theological validity, geometric correctness of perspective, and verisimilitude borrowed from poesy, de Piles insisted that such criteria were not the essential parts of painting. For de Piles, the fundamental principle of paintings consists in its visual effect and the ability to imitate things. If so, however, one critical problem remains unsolved : how could de Piles describe paintings without these criteria? In this paper, I will show following points as to this problem. First, his description was not exclusively aimed to reconstruct a narattive from which the subject matter of a painting was taken: rather, it aimed to cover experience of viewing paintings. Secondly, de Piles inserted into his descriptions views of his own which was warranted by not some universal criteria but his taste or imagination. Finally, while explanation of paintings by many contemporaries intended to determine absolutely valid views of paintings, what he attempted in his descriptions was to persuade his readers by means of his words.

著者

石田 美紀

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.2, pp.41-54, 2005-09-30 (Released:2017-05-22)

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From the beginning of the 1940s, Italian cinema critics have called the commercial films produced under the fascist regime "white telephones". This specific term indicates the white and brilliant visual texture many popular films shared in those days. This visual texture originated in the Hollywood cinema, which dominated the world market including Italian one. Italian cinema industries tried to assimilate a Hollywood-like production to overcome the long-lasting crisis from the 1920s. As a result, Italian screens were covered with white shining lights. This paper aims to reveal the significance of the "white" vision in the Italian cotemporary culture, focusing on the properties of cinema, namely the expressive medium of light and the most powerful economic system of the last century. From this point of view, we can discover another aspect of the first talky colonial film, Lo squadrone bianco, which is renowned for a fascist propaganda.

著者

高久 馨

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.4, pp.15-28, 2005-03-31 (Released:2017-05-22)

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The purpose of this paper is to consider why Paul Gauguin frequently used equestrian motif from 1898 and what its symbolic meanings are, and to show a visual source of the back-rounded equestrian in three important paintings, <<The White Horse>>, <<FAA Iheihe>>, and <<Rupe Rupe>>. One reason is that for Gauguin of 1898-99 the motif implied his happy childhood in Peru and symbolized the primitive state of himself. The idea probably developed from conclusion of a book titled A Book of the Beginnings, vol. 1, by Gerald Massey. Among his memories in childhood, riding a wooden horse particularly must have provided him an important inspiration. This can be inferred from the following passage from Diverse choses, "As for myself, my art goes way back, further [back] than the horses of Parthenon all the way to the dear old wooden horse of my childhood". The other reason is that travel journals by Edouard Petit and Eugene Girardin probably led to romantic primitivism for horse-riding in the South Seas to some of the French colonists in Polynesia, including Gauguin, in the late 19th century. As to a visual source of the equestrian, it may be derived from Delacroix's lithogragh, <<Negre a cheval>> (1823).

著者

廣田 孝

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.4, pp.29-41, 2005-03-31 (Released:2017-05-22)

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Takeuchi Seiho was a contemporary sketch artist as declared by his motto, "Shasei and Shohitu" Shohitu were a major feature of his sketches, and he insisted upon their use. This style came from the traditions he inherited through his studies. Seiho found employment drawing Yuzen-shitae at Takashimaya, where he met Kishi Chikudo. Chikudo actually sketched drawings such as tigers from real life, rather than imagination. This must have strongly influenced Seiho at the time since Chikudo, his senior, advised him on his art. By Chikudo' adovises, Seihou rediscovered realistic presentation in the tradition of Kyoto-school. During the Paris International Exposition in 1900, the 33rd year of Meiji, Seiho learned how to draw animals from real life in Europe. Afterwards, he returned to Japan, having sketched a lion in this fashion. The following year, his work, Shishi (Lion,) displayed the establishment of Seiho's contemporary sketch technique. Thanks to the encounter with Chikudo at Takashimaya, Seiho seemed to establish his own style of sketching.

著者

大久保 恭子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.4, pp.42-55, 2005-03-31 (Released:2017-05-22)

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The date of "completion" of the original maquettes of Jazz has been considered to be 1944, mainly due to three letters of Matisse, in spite of the date, juillet 1946, written in the maquettes. What is the meaning of this delay? The connection between Matisse and Surrealisme contributed in establishing the artistic environment around him from the 1930's. It changed Matisse's artistic view from static to dynamic, especially the concept of signe. Furthermore, the method of paper cut-out accelerated this tendency. Matisse's interest in Bergson in Jazz explains the dynamic character. In 1942, Matisse finished Themes et variation. The central idea is a series along the same theme, with the same model. The connection between the drawings gives the figure a Bergsonian duree. In Jazz Matisse created signes from his memories. He used his intuition to be united with the objects, and realized the inherent duree, which was built right into the process of this work. This is the reason for the delay in working on the maquettes. The duree produced by this delay is the indispensable character in the completion of Jazz founded on the correlation between the maquettes and the texts.

著者

野田 由美意

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.4, pp.56-69, 2005-03-31 (Released:2017-05-22)

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1921 schuf Paul Klee zwei Schriftbilder mit Vers 2-3 aus dem 1. Kapitel des Hohen Liedes, wobei er eine Nachdichtung seines Vaters Hans benutzte. Die Komposition und die bildnerischen Elemente der Schriftbilder werden unter Berucksichtigung der Werke Hans Klees und auf sie bezogener Materialien analysiert, die bisher nicht ausfuhrlich behandelt wurden. Mit seinem Vater teilte Klee bis zu einem gewissen Grad die Beschaftigung mit Asien und dem Orient sowie mit Literatur und Musik, die wesentlich zur Konzeption der Schriftbilder beitrug. Im ersten Schriftbild wird die Lautfolge des Textes sichtbar, indem Klee bestimmte Farben auf bestimmte Vokale bezieht. Damit wurde es zu einem Ausgangspunkt abstrakter Werke, denen eine musikalische Theorie zugrunde liegt. Das zweite Schriftbild weist starker illustrative Zuge auf und interpretiert zugleich den Inhalt des Gedichts ausgehend von einer modernen Deutung des Hohen Liedes als Liebesdichtung. So reflektiert es eine damalige Theorie Klees, namlich das dynamische Gleichgewicht des Dualismus von Mann und Frau. In beiden Schriftbildern schlagen sich erfolgreich das kunstlerische Denken des Malers und die mit ihm verbundenen Experimente um 1920 nieder.

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.56, no.1, pp.1-13, 2005-06-30 (Released:2017-05-22)

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Oxymoron (contradictory expression) is an important rhetorical expression for Augustine. He uses it to express God in the Confessions ; "You(God) are deeply hidden yet most intimately present." After that, he says " in these words what have I said ?" These lines are peculiar speculation form which talks about God in oxymoron and his reflections on such ambivalence in language. He also uses oxymoron to express that the human being's state in front of God is essentially ambivalent, saying "(God) whom I should attach myself, but was not yet in a state to be able to do that." Thus, oxymoron is the most appropriate way of speaking about God and the speaker himself. Moreover, when he talks about the beauty of God and of this world by the beauty of God, oxymoron brings its ability into full play to explain both, because the crucial ambivalence is in beautiful things as creatura bona, which has the nature of being totally beautiful and totally ugly. Also the same is the aesthetic experience, which is both intellectual and sensitive. These are evidently based on his vertical passionate love for God as beauty itself and also on his horizontal moderate love for creatura. In this, we find the aesthetics of the ambivalence founded on oxymoron.

著者

鯖江 秀樹

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.1, pp.14-27, 2005-06-30 (Released:2017-05-22)

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Il pensiero di Antonio Gramsci e considerate alia stregua di quello politico. Tuttavia in base al contesto della storia moderna italiana, insieme alle voci dei critici del tempo, esso si ripercosse anche sui vari aspetti dell'arte e della cultura. Il testo gramsciano fu falsificato da P. Togliatti all'indomani della Seconda Guerra Mondiale. In virtu di cio, si diffuse la convinzione che il pensiero di Gramsci e la metodologia che potesse condurre l'Italia alia "via della rinascita". Cio nonostante questo orientamento si estese all'arte, generando un termine quale "neorealismo", cioe una catena di rappresentazioni realistiche. Gramsci divenne un "combattente" contro il fascismo e il suo pensiero altero l'estetica della organizzazione "immediata" e "semplicistica" del pathos artistico. Il programma del pensiero gramsciano fu quello di organizzare l'Italia a unica "nazione", sebbene la caratteristica di pensiero sull'arte differiva da quella che i critici della dopoguerra immaginavano e da quella che altre correnti antifasciste avevano proposto nello stesso periodo. I brani sulla critica dell'estetica di B.Croce e sull'architettura razionale nei "Quaderni del carcere" indicano che Gramsci provo a organizzare strategicamente l'arte quale campo culturale, osservando le condizioni politiche e sociali sotto il regime. Dal punto di vista storico, la sua riflessione sul concetto "intellettuale" fu alia base di una visione estetica "mediata" e "complessiva" abbastanza incisiva da riscuotere una vasta eco sull'arte e sulla cultura italiana non solo nel dopoguerra, ma persino prima il conflitto bellico.

著者

三河 隆之

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.3, pp.70, 2004-12-31 (Released:2017-05-22)

著者

三宅 秀和

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.3, pp.71, 2004-12-31 (Released:2017-05-22)

著者

矢向 正人

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.3, pp.72, 2004-12-31 (Released:2017-05-22)

著者

山口 和子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.3, pp.73, 2004-12-31 (Released:2017-05-22)

著者

山本 恵子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.3, pp.74, 2004-12-31 (Released:2017-05-22)