著者

石津 珠子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

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

著者

中谷 至宏

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.53, no.3, pp.14-27, 2002

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Traditional Japanese painting had its own format as a hanging scroll or a folded screen. These formats had functions to be used in daily life or ritual space. Painting had been categorized in Kogei (fine and applied arts), parallel to ceramics or textile. Presentation of artistic virtuosity and sales had been the important functions of public show. After the bringing the category, fine arts into Japan in Meiji-era, artists, especially painters tended to exclude those functions from exhibitions. We can recognize this transition in a series of exhibitions held in Kyoto in late Meiji-era, such as Shinko-bijutsuhinten. Gradually painting drifted away from the category, Kogei. As a result, Kogei became a word just as applied arts. In this process, titles of painting were transformed to more metaphorical or poetical ones from description of depicted objects, and paradoxically, painters rediscovered the traditional widely rectangular format, namely, a pair of six-folded screen as effective form for competition or realistic representation of landscape, not as a valuable form for practical functions. In several world expositions, painters in Japanese style enforced to transform their painting to be framed, nevertheless, in Japan, they chose the traditional format in exhibitions that was the very system from the West.

著者

松谷 容作

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, 2015

著者

植田 寿蔵

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.10, no.2, pp.1-12, 1959-09-30 (Released:2017-05-22)

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Differentiation expects unification. If two things can be differentiated each other, it is because each of them has its proper basic structure meaning. Meaning must be its meaning forever. A meaning, which assumes the form of one thing, must necessarily assume another form. Following after this logic, there are innumerable things that are unified into one meaning. The fact of influence in the art history is brought into existence under this circumstances. The existence of one thing expects that of another thing. There is basically the sequence of time in this connection. When a painter, secing the work of another painter, learns his style, it is said that there is a fact of influence. In this case two conditions must be satisfied. First, to confirm from records that be saw the work of his predecessor. Second, to recognize that his predecessor's style is transmitted to his painting. It shows the influenced style but is quite different one, unless it is merely a copy. It is newly created one as well as inherited. This means a progress of the sight which has appeared in the form of the artistic style of the predecessor's work. This is the logic of influence.

著者

谷村 晃

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.42, no.4, pp.68-72, 1992-03-31 (Released:2017-05-22)

著者

五十嵐 節子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.25, no.2, pp.61-65, 1974-09-30 (Released:2017-05-22)

著者

橋爪 恵子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.1, pp.28-41, 2004-06-30 (Released:2017-05-22)

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The poetics and the scientific philosophy of Gaston Bachelard tend to be studied separately and there is a still unknown part about these relations. Therefore, in this paper, I consider the concept of the material imagination, paying attention to the relation between scientific philosophy and poetics. Bachelard made the problem of imagination the theme in "Psychoanalysis of Fire". It was written for consideration of science, and scientific philosophy and imagination are regarded there as being opposites. But afterward, this book became a part of poetics. Because of this conversion, the whole poetics is opposed to scientific philosophy, and one problem is posed. That is, the poetics has to discuss new, original images, which obtain people's consent. And to solve this problem, the new concept of imagination Is needed which is " material imagmation". This concept overcomes the difficulty by two ways. One is to attach importance to materiality, which is the concept discussed already in scientific philosophy. The second is to put to use the theory of psychoanalysis. Because of this solution, material imagination can serve as an important concept in early poetics, and it reflects the important influence of scientific philosophy on the poetics.

著者

平野 千枝子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.59, no.2, 2008

著者

富士栄 厚

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.1, pp.56-69, 2004-06-30 (Released:2017-05-22)

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I analyze the environmental sculpture of Michael Heizer's "trace" by his action in the desert and create the connection between Art and Archeology. The "Trace" has multiple meanings. The notion of "Displacement" which is related to "Trace", is defined as the displacement of the people, objects and matter. "Displacement" denotes the replacement or transfer. 1) I situate the historic context which has made the foundation for the interdisciplinary theory between actual art and archeology through the exchange of information of American art historians and anthropologists.2) I analyze the relation of the contemporary Land art and the notion of "Colossal", which also has multiple meanings, issued from 18th century philosophy of the Sublime, as evidence of connection between art and archeology. I also analyze "Diffracted Gestalt", the key concept in understanding the works of M. Heizer 3) I analyze the notion of "Displacement", in three cases: (1)Monument, (2)Connection of art and archeology, and (3)Copy. 4) 1 consider the actions of M. Heizer as ritual and analyze the meaning of his individual ritualistic action, referring the American Indian's ritual in the art context.

著者

東口 豊

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.49, no.2, pp.12-23, 1998-09-30 (Released:2017-05-22)

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Adorno criticizes the "identifying thought" because it reduces things to abstract universal concepts, and attempts to deliver "the nonidentical" that cannot be captured by those concepts. For that purpose, Adorno introduces the "negative dialectics" in which the negation of negation retains its negativity by means of "definite negation", and strives to overcome defects of philosophical concepts through the idea of their "constellation". The nonidentical is, Adorno claims, "the thing's own identity against its identifications". And he also thinks that art, which is accoding to him a "refuge for mimesis", must be made according not to the ideal of the artist but to its own law. He, therefore, maintains that art that "follows identity with itself" "makes itself equal to the nonidentical", and that mimesis means the comportment of becom ing conscious of the nonidentical. This mimetic moment is "indelible" from all perception and human practice. Art and philosophy cooperate in this moment for the aquirement of truth that is for Adorno the affinity between diversities. Truth is, therefore, the utopia of which realization can never be described. Adorno promises it in the form of semblance.

著者

西村 清和

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.53, no.4, pp.1-14, 2003-03-31 (Released:2017-05-22)

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In his film "Strike", Eisenstein abruptly cuts from a shot of the slaughter of workers to one of the slaughter of a steer. Such a cutting is understood as a typical example of film metaphor, while it has been not incontrovertible among theorists whether it is a real metaphor. Do film metaphors or, more generally, visual metaphors exist in the world? We could enumerate three types of traditional theories of metaphor, i.e. the substitution, the comparison, and the interaction theory. These have a conception in common that metaphor is, just like synecdoche and metonymy, a relation between two things referred to by two words. Meanwhile, influenced by Max Black's epistemological view of metaphor, philosophers often use the word 'metaphor' in the expanded sense including 'analog-model' or 'symbol'. It is sure that an analog-model is a mode of recognizing the world based on the relation between two things. But metaphor is, we claim, nothing other than a linguistic phenomenon of predicative modification of a subject. If it is true, it follows that metaphor in its proper form can not appear at the dimension of such visual images as paintings and films.

著者

渡辺 裕

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.36, no.3, pp.p24-35, 1985-12

著者

北村 ひろ子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.19, no.4, pp.47-50, 1969

著者

鈴木 亘

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.2, 2017

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One of Jacques Rancière's contributions to aesthetics is his re-reading of the historyof aesthetics. Rancière refers to the regime that has identified art as "art" since the endof the 18th century as "the aesthetic regime of art." Against the short divisions of arthistory by modernism or postmodernism, he seeks to describe the long term.For Rancière, ideas of "modernism" and "postmodernism" need critique becausethe two cannot treat general transformations in the aesthetic regime of art. We willexplain how his thinking can renew the discourses of modernism and postmodernism.This essay first examines the pre-existing modernist and postmodernist thinking thatRancière criticizes. It then deals with his view of the history of art history by readingLe partage du sensible. This reading aims to emphasize the work's originality withregard to modernist and postmodernist thinking. We finally investigate his analysis ofpolitical art in Malaise dans l'esthétique, whose arguments offer us a new point of viewfot reconsidering contemporary political art. We conclude this essay by stating thatRancière recognizes the political effectiveness of the "mixtures" of the heterogeneousthat fundamentally characterize the aesthetic regime.

著者

西村 清和

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.47, no.1, pp.1-12, 1996

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The invention of photography definitely changed our way of representing the world and the self. In this paper I try to show a portion of such transformation by way of regarding photography as a kind of narrative act. Painting is a 'depiction' by human eyes and hands, and depends on the particular cultural code of representation. But photography is the direct 'trace' of nature. According to C.S. Peirce, we could call the semiotic status of photographic image 'icon=index'. Photography as index does not imprint the reality of presence but that of 'once-was'. Moreover, to release the shutter means to put an end to a sequence of real incident. What photography imprints is the reality of 'once-was' and 'already-ended'. And the coherent incident structured by both the beginning and the end is a narrative by definition. Photography is the apparatus of structuring the reality as a fragment of narrative. What is, then, the peculiarity of the photographic narrative in contrast with other forms of narrative, such as painting, chronicle, history, fiction, reminiscence and the traditional narrative of self-image? That is the main subject of my paper.

著者

藤原 貞朗

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.51, no.3, 2000

著者

玉生 正信

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.22, no.2, pp.1-10, 1971-09-30 (Released:2017-05-22)

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The child is born with creative power, but at a certain age this power begins to decline. The puberty crisis in child's life usually comes about fourteen-this is the time of the awakening intellect. The teacher ought to try to help the child to get over this crisis. The creative dies out only owing to the unfavourable influence of three factors : parents, school, and environment (civilization). How can creative Child Art be continued without the surrogate of perspective and without mannerism? In this paper the writer will grasp the continuity of creativity in connection with the discipline of plasticity. Creative art begins when the child starts struggling to find the right form. "The principal aim of Child Art", said Cizek "is that the creative power develops and influences right through life".

著者

高橋 健一

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.54, no.3, 2003

著者

服部 真吏

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, 2015

著者

諸星 妙

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.59, no.1, pp.99-112, 2008

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This paper examines the opening and the function of the gesture of Cristobal Suarez de Ribera in his portrait by Velazquez. The portrait was painted in 1620, that is two years after the subject's death, and was placed above the tomb of Cristobal Suarez in the Chapel of San Hermenegildo in Seville, which he had founded from 1606 to 1616. As was the custom for funerary sculptures, he is shown kneeling in the attitude of a prayer. However he is pointing towards the main altar which contains a polychrome statue of San Hermenegildo by Martinez Montanes. This gesture is exceptional for a funerary portraiture, which leads us to consider that the portrait performs a specific function in the Chapel. In this point, showing how the portrait was hung in the Chapel in the 17th century, I point out that Suarez in this portrait plays a role similar to the intercession. According to the documents, Suarez was known as a leading figure in the veneration of San Hermenegildo at that time, which makes us consider that Velazquez painted the portrait in a peculiar manner so that Suarez could seem to be playing a role of mediator between the members of the Confraternity of San Hermenegildo and the statue of the saint in the main altar.