著者

大石 和久

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.64, no.1, pp.35-46, 2013-06-30

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Henri Bergson states that "duration", which cannot be fragmented into instants, has reality, and that the instants themselves are unreal. Herein lies the difficulty of discussing the photograph from a Bergsonist viewpoint. To solve this problem, this paper proposes that Bergson treats the "any-instant-whatever" as a kind of duration, but one which is without memory, and is therefore extremely expanded. In contrast, subjective human perception is a condensing of myriads of instants via the memory, and is therefore a contracted duration. Without memory, the any-instant-whatevers return to themselves, and become objective. This paper proposes that the camera, being only physical matter without human memory, reveals the any-instant-whatever that had become indistinguishable in the contracting memory. From this viewpoint, the photograph is objective in its instantaneity, revealing instantaneous "differences" that are "useless" for human beings; Bergson recognizes that "revelation" is a function of art. Thus, the "optical unconscious" revealed instantaneously by the photograph, refers not to psychological reality, but to the objective (material) world.

著者

加藤 有希子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.52, no.3, 2001-12-31

著者

佐野 みどり

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, 2011-12-31

著者

森田 優子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.59, no.2, pp.72-85, 2008-12-31

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The cycle of Sts. George, Jerome and Tryphon for the Scuola Dalmata was executed by Vittore Carpaccio in ca. 1502-1511. The Vision of St. Augustine of the cycle is based on the apocryphal letters. Compared with the examples of same subject and the representations of the other study, it reveals that this work is different from the traditional iconography. The setting of study and chapel focused on both the contemplative life and the daily work of bishop. It finds also the details which demonstrate a kind of collectionism. These become the factors which remind anyone's portrait. When we concern on this problem, it's important to see it in the patronal context. The production of the cycle has been inspired by the donation of the relic by Paolo Vallaresso, and it's also important to remember that Maffeo Vallaresso is the archbishop of Zara. He is the humanist-ecclesiastic, interested with the art, which recorded in his letters. On considering these factors, the setting of study and art-conscious details, in the contemporary context, so it can say that the St. Augustine's study is intended to allude the intellectual and ecclesiastical figure of Maffeo Vallaresso.

著者

山田 英彦

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.9, no.3, pp.60-62, 1958-12-25

著者

松友 知香子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.57, no.1, pp.42-55, 2006-06-30

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Unter den ca. 9.000 Werken von Paul Klee gibt es ca. 180 Bilder, in denen die "Stadt" thematisiert wird. Diese Werke konnen die "Stadt-Bilder" genannt werden. In der bish-erigen Forschungsgeschichte wurde aber auf diese Bildergruppe nicht achtgegeben. Es wurde auch nicht uberlegt, welchen Sinn diese Bilder haben. Bei der naheren Betrachtung ergibt sich, dass diese Stadt-Bilder in drei verschiedenen Epochen hergestellt wurden, und der Charakter der Bilder in diesen Epochen von einander differenziert wird. In der vorliegenden Arbeit wird zunachst versucht, einen Uberblick liber diese Stadt Bilder zu werfen. Dann werden die Bilder in der dritten Epoche eigens in Betracht gezogen, da der von Klee verstandene Sinn der "Stadt" mit der Entwicklung seiner Welt- und Naturanschauung erst in dieser Epoche in der reifen Form zum ktinstlerischen Ausdruck gebracht wird. Um diese Interpretation mit dem konkreten Beispiel zu belegen, wird das representative Werk Klees, "Ein Blatt aus dem Stadtebuch", aufgenommen und ausfuhrlich analysiert. Es wird am Ende klar, dass Klee die in der modernen Stadt verborgene Spannung zwischen der Erde als dem Diesseits und dem Himmel als dem Jenseits mit der symbolischen Figur einer "Scheibe" und durch eine gewisse Farbenkombination als Folge seiner "Farbenlehre" darstellt.

著者

塚本 博

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.44, no.1, pp.47-57, 1993-06-30

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A Venezia, nell'eta di transizione tra la fine del Gotico e l'apparire delle forme rinascimentali, ci sono alcuni quadri di "Madonna col Bambino dormiente". Nelle pitture di Giovanni Bellini, dei Vivarini (Antonio, Bartolomeo, Alvise), di Cosme Tura, si trovera questa iconografia. Mezzo secolo fa G. Firestone ha detto che questa iconografia e la prefigurazione della Pieta. Recentemente anche S. Ringbom e H. Belting hanno proposto l'idea nuova del Cristo morto come origine della Pieta, secondo il saggio di E. Panofsky. Riassumendo queste indagini, l'autore ha preso in considerazione la formazione del Bambino dormiente. Dapprima nel polittico veneziano c'era una combinazione di Madonna col Bambino (centro) e il Cristo morto (cimasa). Nella seconda meta del XV secolo nel Veneto apparve la prospettiva ed il polittico si trasformo sempre di piu nella pala. Quindi i Santi da posizioni laterali entrarono nello spazio centrale prospettico, ma il Cristo morto della cimasa tende ad essere separato dalla pala. In siffatta ambientazione, i Vivarini che tradizionalmente dipinsero la Madonna col Bambino e il Cristo morto concepirono la rappresentazione della Madonna col Bambino dormiente includendo la vita e la morte di Cristo. Il processo della formazione di questa iconografia lo vediamo fra il polittico di Bologna e la pala di Napoli. Secondo l'autore Piero della Francesca dipinse la pala che si trova a Brera ispirandosi a quella di Napoli di Bartolomeo Vivarini.

著者

桑原 俊介

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.1-12, 2015-12-31

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In dieser Abhandlung wird bewiesen, dass die Erweiterung der Wahrheit seit der sogennanten "probabilistischen Revolution" (Hacking) Mitte des 17. Jahrhunderts, die Ausdehnung derselben von der (strengen) "Wahrheit (veritas)" zu der "Wahrscheinlichkeit (probabilitas, verisimilitudo)", ein Moment fur die Entstehung der Asthetik Baumgartens gewesen ist. Das wissenschaftliche Wissen (scientia) blieb, besonders seit Descartes, streng auf die Wahrheit beschrankt, die nur durch die deduktive Demonstration ermittelt wird, wahrend die Wahrscheinlichkeit, die nur durch die "Autoritat" oder "Billigung" durch andere bestand, vom Bereich des wissenschaftlichen Wissens vollkommen ausgeschlossen war. Jedoch, wenn der Wahrscheinlichkeitsbegriff durch jene Revolution mathematisch oder statistisch, also quantitativ neu formuliert werden wurde, wurde das Wahrscheinliche nicht nur in der Mathematik sondern auch in der Logik als "der Grad der Wahrheit" quantitativ behandelt werden konnen. Es konnte ein Moment fur die Entstehung der Asthetik Baumgartens sein, dass er diesen quantitativen neuen Wahrscheinlichkeitsbegriff in seine Asthetik aufgenommen und mit ihm den Begriff der "verisimilitudo" in seiner eigenen Weise bestimmt hat.

著者

調 文明

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.85-96, 2010-12-31

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This paper aims to consider how photography can incorporate "imagination" in itself despite the fact that it is limited to representing something in front of a camera. For this consideration, the nineteenth-century British photographer H. P. Robinson is the key figure, because he continued to think the relationship between photography and imagination throughout his photographing career. In Pictorial Effect in Photography (1869), he regarded imagination as faculty for composing something that did not exist, for example, angels. He insisted, therefore, that a photographer violated fitness as a picture-maker when he depended on imagination. But in The Art and Practice of Silver Printing (1881), Robinson focused on a photographer as a picture-viewer and turned to look upon imagination as faculty for forming a picture of something as it should be. Moreover, Robinson implied in Picture Making by Photography (1884) that when the photographer's imagination was stimulated by something instantaneous that was fixable only by gelatin plate, he might try to set up an event in the real world as it looked instantaneous and to photograph it. In my reading, Robinson believed such an operation of imagination enabled the photographer to demonstrate his imagination without violating fitness.

著者

田中 麻帆

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.137-148, 2015-06-30

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Contemporary artist David Hockney's (b. 1937) trips to Japan were connected to the works he created in the 1970s and 1980s. However, prior studies have not analysed these works in detail. This report re-examines Hockney's interest in Japan by collating the Japanese art that he encountered during his travels. Some scholars identify the works that Hockney created after first visiting Japan in 1971 as the impetus for his moving beyond naturalistic composition based on one-point perspective. This report additionally compares his works with Japanese paintings he may have encountered and indicates their similarity in terms of techniques depicting time. In the 1980s, Hockney created collages of photographs, which require time to shift the viewer's gaze across multiple points of focus. He called this visual sense "reverse perspective". Although preceding studies have referenced 'reverse perspective' theory, they have lumped together Chinese and Japanese art. Hockney has stated that his visit to Kyoto's Ryoan-ji Temple inspired his "reverse perspective" theory, the background of which requires further examination. Hockney explained this theory by referring to Chinese scrolls; however, when his works from that period are analysed in detail, they reveal that he might also have gained knowledge from his exposure to Japanese scrolls.

著者

入江 繁樹

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.59, no.2, pp.16-29, 2008-12-31

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This paper focuses on the production theory which was presented by YANAGI MUNEYOSHI (1889-1961), the leader of the Japanese Mingei movement. Analysing the contradiction of this theory, I indicate his unique view on the modern civilisation. In the 1920's, he insisted on the revaluation of Japanese traditional folk-crafts, and renamed them Mingei. According to him, the essential aesthetic quality of Mingei is the unconscious beauty (mushin-no-bi), and this beauty can not be created any more by modern artist-craftsmen who are too self-conscious. But, in the meantime, YANAGI demanded that these artist-craftsmen supervise Mingei production and conduct folk-craftsmen who are actual producers of Mingei. Is this YANAGI's methodological fallacy? Rather, we should think that this is an unavoidable paradox on the Mingei production. In YANAGI's view, aesthetic appreciation should be based on the modern consciousness and the latter is indispensable even when we appreciate the unconscious beauty of Mingei. Therefore, he could not help placing the modern artist-craftsmen as leaders in the Mingei production. In short, he thought that the "nonmodern" beauty of Mingei should be paradoxically realised in the gaze of the "modern" men.

著者

六人部 昭典

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.53, no.1, pp.43-56, 2002-06-30

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Quelle est la touche qui caracterise les tableaux de l'impressionnisme? Feneon a d'une part critique la touche de l'impressionnisme comme "un sabrage au pinceau". D'autre part il a considere la touche de neo-impressionnisme en tant que l'equivalent de tache colorante, et il a denie la matiere dont tout la touche devrait etre. Cependant la touche n'est que l'entite substantielle ainsi que la couleur d'huile qui reste sur une image en tant que la matiere. La matiere de la touche nous indique le mouvement de la main de peintre en reproduissant l'objet. Les impressionnistes ont tente de peindre leur sensation en employant la touche. Ils ont voulu substantialiser leur sensation sur l'image en passant par la matiere ainsi que la couleur d'huile. La valeur de l'impressionnisme et l'idee de la touche peuvent etre trouvee dans cette conclusion.

著者

荻野 哉

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.51, no.1, pp.13-24, 2000-06-30

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In this paper, I prove that C. Baudelaire developed his thought in the field of art criticism, by breaking with the theory of the imitation of nature and improving the image of "modern art". First, I analyze the concept of romantisme (romanticism) emphasized in Salon de 1846, and prove that Baudelaire's view of art is closely related to his estimation of E. Delacroix's paintings, which are regarded as "the most actual expression of beauty." Second, I analyze a new development of Baudelaire's ideas in the late 1850's. What I regard as important is two concepts, surnaturalisme (supernaturalism) and imagination (imagination). The latter is a faculty which can govern nature and create a new world. Finally, I take up Le Peintre de la vie moderne (1863), in which C. Guys's supernatural art is highly regarded. Baudelaire's manner of estimating it is similar to the manner Delacroix's paintings were treated. I make this similarity and its significance clear by comparing the concept of modernite (modernity) emphasized in Le Peintre de la vie moderne with his early theory of art, and by comparing Guys's genie (genius) with Delacroix's imagination.

著者

金田 民夫

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.11, no.2, pp.27-35, 1960-09-30

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Herder talks about the problem of the reality in arts in his Plastik, which is, in a proper term, the objective reality of the sense of touch, implying both the vital reality conceived in the arts and the real function of arts referred to the social effect as is mentioned in his essays on poetry. It is clear that the vital reality finds its theoretical development in the existentialists' aesthetics, and the functional reality is succeeded by the Marxists' aesthetics. But the real could be perceived, from Herder's view, as being more synonymous with nature than the historical existence of human being. As for the real effect upon the social life, its teoretical demonstrations have not been sufficiently made. We can find indeed, at any rate, that Herder, in his theory of arts, suggests what is signified by the reality in arts.

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

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

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.