著者

新倉 慎右

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.49-60, 2012-06-30

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There was the first version of Michelangelo's Christ in Santa Maria sopra Minerva in Roma which had been abandoned before the completion. In 2000, Baldriga and Squarzina identified the statue of Christ in San Vincenzo Martire at Bassano Romano with the lost first version. Although they argued only about the difference of the posture between two statues of Christ in Roma and in Bassano Romano, the rediscovery is very important for the reconsideration of the shape of Christ in Roma, because being executed under the same condition of the contract the difference makes the progress of Michelangelo's idea from Christ in Bassano Romano to that in Roma clear. This paper examines the importance of Christ in Roma to Michelangelo's transition of the style in statue. The factors (mainly the twist of the body and the position of the arm) that make the apparent difference between two statues of Christ appear on the works that Michelangelo executed after Christ in Roma, and it is this Christ that Michelangelo boldly made at first time under such idea which he would continue to utilize for realizing his statue. Therefore, contrary to the comparatively low evaluation of the modern studies, Christ in Roma occupies fixed position in the stylistic history of Michelangelo's statue.

著者

喜多村 明里

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.47, no.1, pp.37-48, 1996-06-30

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Fra Angelico, attivo gia nel 1417 come pittore Guido di Pietro, entro poco piu tardi nel convento di San Domenico. Fu chiamato Fra Giovanni, ma le sue mani e i suoi occhi erano quelli del pittore ; che tentava di creare consapevolmente delle immagini autenticamente devozionali per la vita dei frati Osservanti domenicani, nelle celle del dormitorio del nuovo convento di San Marco a Firenze, essendo perfettamente a conoscenza della sua costruzione e di ogni sua funzione. Negli affreschi delle celle dei novizi, raffigurando le varie forme di preghiera, "De modo orandi", il pittore si mostro attentissimo disegnatore degli atteggiamenti delle figure, e creo una nuova immagine di Santo Domenico che si aggrappa al Crocifisso. Cosi, per i frati predicatori, trasformo la Vita di Cristo e l'Incoronazione della Vergine in immagini contemplativi ispiranti meditazione e predica. In quanto agli affreschi nelle celle dei frati conversi, con naturalezza e sottile eloquenza delle figure, rese i soggetti sacri piu educativi e comprensibili ai frati meno colti. Gli Osservanti domenicani consideravano Fra Giovanni un predicatore visivo. Tra i quali ricordiamo Fra Antonino Pierozzi, operatore del proggeto di costruzione di San Marco, la cui estetica si avvicina a quella rinascimentale di Leon Battista Alberti. Gli affreschi nelle celle di San Marco sono vere e proprie immagini meditative dal pittore-frate, la sua verita contemplata.

著者

片山 学

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.48, no.4, pp.13-24, 1998

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Dans La correspondance des arts, Etienne Souriau a presente le schema circulaire dont le but etait considere comme la classification des arts. Mais je pense que Souriau ne l'ait pas eu pour premier but. Souriau, qui avait attache de l'importance a la methode du recherche comparative, a propose son theorie l'esthetique comparee. Comformement a lui, Souriau a fait correspondre deux especes d'arts mutuellement par leurs comparaison sous le point de vue de leurs structures. Au centre de schema, Souriau a pose "qualia sensible" qui fait une essence pure et une qualite absolue. Ce "qualia" est devise en sept regions (lignes, volumes, couleurs, luminosites, mouvements, sons articules, sons musicaux) quant a l'experience du cote du phenomene artistique et produit des arts. En plus Souriau a fait etat de "forme" et a institue deux degres, non-representatif ou representatif, sur des arts. Ainsi Souriau a constitue ce schema triplement et a fait diversifier l'art. Dans ce schema, Souriau a essaye de situer les arts ordonnement, en les disposant de facon a faire les correspondre mutullement.

著者

高安 啓介

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.52, no.4, pp.15-28, 2002-03-31

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Neue Musik gewinnt ihre eigene Kraft erst durch die jeweilige Distanzierung von der traditionellen und popularen Musik. Aber neue Musik neigt dazu, sich wegen dieser Distanzierung in der Gesellschaft zu isolieren. In diesem Dilenmma braucht neue Musik notwendigerweise eine philosophische Orientierung. Die Idee einer "musique informelle", die Adorno 1961 in "Darmstadter Ferienkursen fur Neue Musik" bekannt machte, hat immer noch eine wegweisende Bedeutung. Informelle Musik heisst keineswegs Musik ohne Form, sondern Musik, die nicht durch die vorgegebenen Schemata kontroliert wird. Folgende vier Punkte sind zu betrachten. Erstens konzipiert Adorno informelle Musik als die fur die Zukunft geoffnete, obwohl er die fruhe atonale Musik von Schonberg fur ein Modell der informellen Musik halt. Zweitens weist Adorno aufgrund dieser Idee darauf hin, dass die avantgardistische Einstellung nicht immer mit der Freiheit verbunden ist. Drittens impliziert Adornos positive Beurteilung der Musik von Mahler und Berg, dass die informelle Musik nicht das Populare ausschliesst, sondern daraus die unbekannte Form entstehen lasst. Viertens zeigt Adorno mit der Idee der informellen Musik nicht nur die Richtung der Komposition, sondern auch eine Moglichkeit der modernen Vernunft und die Bedingungen der sachhaltigen Erfahrung.

著者

甲斐 義明

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.85-96, 2011

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Alfred Stieglitz's series of photographs of clouds entitled Equivalents has been understood from two contrasting perspectives: "straight photography" and symbolism. This essay discusses an aspect of the Equivalents which has been neglected in these two dominant frames of reference. When Stieglitz began to make the Equivalents in the mid-1920s, the painters around him, such as Georgia O'Keeffe and Stanton Macdonald-Wright, were primarily concerned with how to represent the American landscape. This concern urged them to abandon pure abstraction and to depict landscapes that were considered to be characteristically American. Although the Equivalents capture only clouds in the sky, each photograph was shot at Lake George in upstate New York. When he exhibited them, Stieglitz carefully arranged the captions and installations so that a viewer could realize this fact. As Lake George was another place regarded to embody the beauty and spirit of America, the Equivalents were not unrelated to the shared interest of the painters of the Stieglitz circle. In pursuing this concern, Stieglitz utilized an intrinsic characteristic of the photographic medium, namely its inseparable connection to a specific place and viewpoint.

著者

小河原 あや

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.59, no.2, 2008-12-31

著者

門田 彩

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.59, no.1, pp.85-98, 2008-06-30

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In this paper, I investigate El Greco's St. Ildefonso, currently placed at the Chapel of the Hospital of Charity in Illescas. This was painted in his most prolific stage, around 1600. Until recently the details of the commission issued to El Greco have not been obvious. Here, I present a tentative plan concerning the ditails of the commission of St Ildefonso, examining the relationship between El Greco and Salazar de Mendoza, a patron of El Greco. First, I focus on how St. Ildefonso is depicted as a Church Father, or author/scholar figure, which differs from the general representation of St. Ildefonso which portrays him receiving the chasuble, or dressed as an archbishop. I demonstrate how that El Greco's Ildefonso resembles the figure of St. Jerome in his study and I examine the description on St. Jerome and St. Ildefonso in Mendoza's work El Glorioso San Ildefonso…(1618), thus adding evidence for the likelihood of an influence from Mendoza. Moreover, I suggest a close connection between Charity and Mendoza. This is evident from the fact that El Greco and Charity both signed a contract for the retable at the Hospital Tavera, of which Mendoza was administrator. The goal of this paper is to present the details of the commission of St. Ildefonso, considering the intervention of Mendoza, an Toledan.

著者

伊藤 るみ子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.46, no.3, 1995-12-31

著者

杉山 卓史

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.1, pp.1-14, 2006

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This paper reflects on Herder's concept of "common sense", understood in terms of sense common to all the senses. His saying "we are a thinking sensorium commune" from his Treatise on the Origin of Language (1772) has received increasing attention in recent years as it is thought to be at the origin of the concept of synesthesia. But why so? According to contemporary medical-psychological research, synesthesia is the concrete experience of fusion of the senses located in the limbic system. This means that synesthesia is the opposite of the Aristotelian conception of common sense, because the latter is the faculty to grasp abstract qualities. Herder's "sensorium commune" has a different connotation. By using this expression he meant that all the senses are originally one and the same (=feeling); they become differentiated from this and work together. This level is prior to both the birth of language and the judgment of beauty. Herder is the one who formulated such a conception of common sense, (which is not the faculty to grasp abstract qualities), for the first time in the history of ideas. This is why his "sensorium commune" is at the origin of the idea of synesthesia.

著者

吉田 寛

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, 2014-06-30

著者

松原 薫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.161-172, 2015

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This paper considers the role of the theory of melody (die Melodielehre) in Johann Mattheson's Der vollkommene Capellmeister. In the first half of the eighteenth century, the mathematical view of music and the strict artificial contrapuntal theory were often criticized. As this paper will exemplify, Mattheson criticized the former in "Die canonische Anatomie" (in a dispute with Heinrich Bokemeyer) and the latter in Das neu-eroffnete Orchestre. These two criticisms, however, seem to be inconsistent with his description of the contrapuntal theory in the third part of Der vollkommene Capellmeister, which encompasses the northern German Baroque theory. I then turn my attention to the role of Mattheson's theory of melody, wherein he regards the melody as 'noble simplicity' or 'naturalness'. He also introduced the words 'Symphoniurgie', instead of 'counterpoint' at the bridge of the explanation of a single melody, and 'Vollstimmigkeit', or full-voicedness, which means an artistic combining of different melodies sounding together simultaneously. This re-definition of the counterpoint indicates that he considered it the mass of the plural melodies. Mattheson's theory of melody leads to the integration, without inconsistency, of the contrapuntal theory and the criticism of the mathematical view or rational, artificial treatment of music.

著者

早川 恭只

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

井尻 益朗

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.21, no.2, pp.1-11, 1970-09-30

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'Ma' originally means 'space' in Japanese. We have regarded the beauty of 'Ma' as essentially significant in Japanese traditional arts. But it is equally essential in the understanding of Japanese traditional music to appreciate the 'Ma'-unique pause between sounds of strings (shamisen etc.), drums (tsuzumi etc.) and winds (hu-e etc.). In this paper, I have discussed the relation between the character of Japanese traditional music and 'Ma', and explained how the expression of 'Ma' is possible and what the expression of 'Ma' signifies.

著者

中村 朋子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.64, no.1, pp.95-106, 2013-06-30

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Die geometrische Humanfigur nach Vitruvius ("Vitruvianische Proportionsfigur") faszinierte die Kunstler der Renaissance, wie es die bertihmte Zeichnung des Leonardo da Vinci (1452-1519) archetypisch umsetzt. Auch Albrecht Durer (1471-1528) versuchte, die idealisierte Humanfigur im Buch II der "Vier Bucher von menschlicher Proportion" (1528) zu konstruieren. Deswegen konnen wir eine Figur homo ad quadratum sowie sieben weitere Figuren homo ad circulum finden. Doch mussten einige schwierige mathematische Probleme uberwunden werden, um die "Vitruvianische Proportionsfigur" zu konstruieren. Wie versuchte Durer diese zu losen? Der Essay betrachtet die Beziehungen zwischen Konstruktion und Methodologie des "Messstabsystems". Der Vitruvianische Kanon wurde ursprunglich als Bruch dargestellt. Durer jedoch verwendet ein Instrument, das sich auf einer anderen mathematischen Methode grundet. Eine Verwandtschaft mit der vitruvianischen Methodik besteht folglich eher fur die vorangehende geometrische Konstruktion in seinem ersten Buch. Was bedeutet es, dass Buch II trotzdessen dieses Bild enthalt? Zur Beantwortung dieses Problems sollte man davon ausgehen, dass eine praktische Notwendigkeit existierte. Dieser Aufsatz analysiert die Durerschen Methoden wie die Proportionsfiguren und argumentiert, dass gerade durch die Entstehung der exakten anthropometrischen Methode im II. Buch sich die Moglichkeit der Konstruktion eroffnete. Letztlich verweist er ebenso auf die Problematik der Quantifizierung des Weltverstandnisses in der Renaissance, die diese Methode anspricht.

著者

佐野 敬彦

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.37, no.3, 1986-12-31

著者

高木 駿

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.65, no.2, 2014-12-31

著者

村上 真樹

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.13-24, 2012-06-30

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In Goethes Wahlverwandtschaften (1920/21) betrachtet Walter Benjamin das Problem der Schonheit und des Scheins. Und dann beabsichitigt er sie zu uberwinden. Benjamin unterscheidet zwei Formen des Scheins; "Venus" und "Lucifer". Der Schein als Venus ist der "Schein hinter dem sich etwas verbirgt". Das stimmt mit dem Begriff des Scheins in der idealistischen Asthetik uberein. Der Schein als Lucifer ist der "Schein hinter dem sich Nichts verbirgt". Das stimmt mit dem Schein in Nietzsches Asthetik uberein. Aber betrachtet Benjamin beide Formen des Scheins kritisch. Die Erstere lasst er an ihrem Wert verlieren, indem er sie nicht als die Hulle vor der Wahrheit, sondern als Hulle vor dem "Unscheinbaren" begreift. Die Letztere verneinte er, indem er sie nicht als Schein, sondern als Allegorie begreift. Ferrier weist Benjamin auf ein Moment von Unterbrechung dieser Formen des Scheins hin, nennt dies "das Ausdruckslose". Meine Arbeit weist darauf hin, dass Benjamin fur die Uberwindung des Scheins drei Methoden vorschlagt; (1) Verminderung des Scheins durch die Beziehung zwischen Schonheit und Wahrheit zu schneiden, (2) Entzauberung des Scheins durch die Allegorie, (3) Unterbrechung des Scheins durch "das Ausdruckslose".

著者

関野 さとみ

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, 2014-06-30

著者

阿部 公正

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.8, no.2, pp.50-54, 1957-09-10

著者

前川 道郎

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.32, no.3, pp.1-13, 1981-12-31

被引用文献数

1

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O. von Simson characterized the form and idea of Gothic church architecture by two qualities, as "luminosity" and as "geometrical order". I have already discussed the first quality, and it is time to certify the second. In this treatise I have intended to clarify situation of geometry by Gothic architects. After discussing importance of geometrical order for architectural space in general, I have surveyed mediaeval geometry, reffering to treatises by L.R. Shelby, historian of technology. Then, after examining geometries of Villard de Honnecourt and Mathes Roriczer, as well as studying, as an example, history of drawing regular pentagon from Euclid to Durer, I have reconfirmed that geometry of Gothic architects was just what Shelby called constructive geometry distinguished from theoretical geometry and practical geometry both by geometer. Geometry of Gothic architects does not belong to theory as one of seven liberal arts, but to technique of building craft. It does not mean geometry has nothing to do with the art of architecture. Northern Gothic architects used to design their buildings according to some basic geometrical figures by forming plan, section and elevation in one system, as was shown in the minutes of Milan Cathedral in the 14th century.