著者

上石 学

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.49, no.1, pp.48-59, 1998-06-30 (Released:2017-05-22)

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Gabriel Marcel a accorde a ses drames plus d'importance qu'a ses oeuvres philosophiques. Il y en a deux raisons. L'une consiste dans la particularite de l'experience d'ecrire des pieces. La these la plus fondamentale de sa philosophie est ceci : "Je suis mon corps". Elle exprime le fait que l'ame et le corps font dans l'existence humaine une seule "unite indecomposable". Or, Marcel a connu que la creation d'un dramaturge se realisait grace a une "presence" de quelque chose, laquelle il devait soutenir avec "la fidelite creatrice". C'etait une experience exceptionnelle a travers laquelle il a pu vivre jusqu' a la limite "la logique propre de l'existence". La seconde raison consiste dans le fait qu'une piece peut exprimer "le mystere" et "l'intersubjectivite" comme sa forme de base, ce qu'une reflexion philosophique ne peut pas faire completement. Ainsi, a travers de son experience du dramaturge, Marcel est parvenu a la revelation que l'existence comme unite indecomposable s'etend, au-dela de la limite individuelle, jusqu'a l'intersubjectivite.

著者

廣田 孝

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.51, no.1, pp.37-46, 2000-06-30 (Released:2017-05-22)

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TAKEUCHI Seiho was born in 1864 and he started to study traditional Japanese painting under KONO Bairei. In 1886, he attended Ernest F. Fenollosa's lectures on Japanese painting, which made him consider the future of Japanese painting. While many of his contemporary artists tended to adopt Western style in modernizing Japanese painting without much success, Seiho was not particularly impressed by it. He made a careful comparison of Western with Japanese painting and came to the conclusion that what characterized Japanese painting was shai, "expressing the painter's inner lyrical inspiration using what he or she sees out there as a form of expressing it, " upon which he placed special emphasis in his attempt to innovate his painting. Convinced of his original idea after the visit to the 1900 Paris Exhibition, Seiho attempted to transcend the old style which was almost exclusively concerned with umpitu, "brushworking" and to combine shasei, "sketching to grasp the outer characteristics of objects, " with shai, "expressing his inner lyricism." At the same time, he made an effort to attain shohitu, "the utmost simplicity out of which no touch whatso-ever could be eliminated."

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.41, no.3, pp.69-74, 1990-12-31 (Released:2017-05-22)

著者

桑島 秀樹

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.71, no.1, pp.169-174, 2020 (Released:2022-02-16)

著者

大城 茉里恵

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.71, no.1, pp.175-180, 2020 (Released:2022-02-16)

著者

鈴木 亘

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.71, no.1, pp.61-72, 2020 (Released:2022-02-16)

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Among many authors discussed by Jacques Rancière, Stéphane Mallarmé is one of the most important poets and has been intermittently revisited since the publication of Mallarmé (1996). This monograph is intensely focused on the relationship between Mallarmé’s works and politics (particularly dealing with a thought of “community”). The relationship between art and politics is consistently addressed in Rancière’s other writings but has become complicated since he reinterpreted the history of Western aesthetics around 2000. However, previous studies on Rancière’s interpretation of Mallarmé fail to acknowledge such complexity because they focus exclusively on Mallarmé and his contemporary writings. Therefore, this paper investigates The Future of the Image (2003) and Aisthesis (2011), as well as Mallarmé, to trace changes in Mallarmé’s status. Through this investigation, this paper reveals new politicization in Rancière’s writings on Mallarmé. This paper is organized as follows: firstly, confirming that Mallarmé is the poet that observes ordinary events of everyday life, and secondly, this paper clarifies a discrepancy between the figure of Mallarmé depicted in Mallarmé and Rancière’s concept of the “aesthetic regime of art.” Finally, this paper demonstrates that Rancière provides new insights on Mallarmé in his writings since the year 2000.

著者

根來 孝明

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.71, no.1, pp.73-84, 2020 (Released:2022-02-16)

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The copy of Lan ting xu by Zhao Mengfu is included in Lan ting shi san ba. Lan ting xu is a masterpiece by Wan Xizhi, who is a calligrapher referred to as 書聖 (“a great calligrapher”). This calligraphy work was widely disseminated after the Tang dynasty. Most studies on Lan ting shi san ba have discussed the connections between Zhao Mengfu and Wan Xizhi from the contents of the text. In addition, the style of calligraphy has been emphasized. The purpose of this report is to examine the characteristics of molding in the calligraphy work of Zhao Mengfu. Furthermore, this study aims to reconsider Zhao Mengfu’s position in Chinese calligraphy history. Result of the molding analysis suggests that Zhao Mengfu understood the calligraphy work of Wan Xizhi as a mix between the calligraphy style of the Tang dynasty and that of the Song dynasty. Therefore, Zhao Mengfu can be seen as a calligrapher who generated a new image of Wan Xizhi’s calligraphy during the Yuan dynasty.

著者

Shigemi SHIMOMURA

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.71, no.1, pp.85-96, 2020 (Released:2022-02-16)

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Agnolo Gaddi (active 1369-98) was one of the Giotteschi painters in Trecento Florence whose masterpiece, the Legend of the True Cross fresco cycle, adorns the Franciscan Basilica di Santa Croce’s Cappella Maggiore in Florence. In this article, I analyze the recently restored frescoes to revisit the Trecento expression of light and color. The works of Agnolo, although he has not much discussed, are characterized by a gentle and pale expression of color—through the cangiante mode of painting—that gives a sense of unity and harmony to the entire cycle. In particular, I examine the effect of cangiante and the use of gold and tin metal foil on the murals. Taking into account the light source, i.e., daylight from the chapel windows, I discuss the fresco cycle’s overall color and decorative characteristics. As it is written in Bonaventure’s doctrine of light, it would be possible to conclude that the expression of beautiful light is to praise God. Agnolo’s frescos depict a world of God filled with light. In that sense, it can be said that these frescos are a supreme decoration befitting a house of God.

著者

福田 淑子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.71, no.1, pp.97-108, 2020 (Released:2022-02-16)

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This paper focuses on the iconography of Filippino Lippi’s altarwall painting for Carafa’s chapel in the Basilica of Santa Maria sopra Minerva, which was dedicated to the Virgin Annunciation and Saint Thomas Aquinas. Filippino painted the conclusion of the chapel’s thematic program onto the altarwall, which combines the Annunciation with the Assumption through a highly illusionistic representation. This composition is rare as the cycle of the Virgin’s life; therefore, I tried to explain not only why these two themes were selected, but also Carafa’s intention to contrive his chapel. Accordingly, this study begins with the supposition that this altarwall exhibits the Mariology of Thomas. As for the basis of my opinion, Carafa was one of the Cardinal Protectors of the Dominicans, moreover, his unusual dedicated service to the Dominicans may have stemmed from his personal devotion to Thomas. Following the above, I try to interpret the iconography of this altarwall in the context of the Mariology of Thomas, referring to his chief work, the Summa Theologica. Finally, I suggest that Filippino’s pictorial style may refer to an aspect of Carafa’s religious milieu and that the theological program of the chapel draws upon an intention to show off his place.

著者

瀬戸 はるか

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.71, no.1, pp.109-120, 2020 (Released:2022-02-16)

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This paper discusses how the painting style of Agnolo Bronzino (1503-72), the sixteenth century Florentine artist, relates to the art and art theory of contemporary Northern Italy, through an analysis of the Portrait of Cosimo I in Armour (1543, Gallerie degli Uffizi). Since Bronzino’s style has primarily been analyzed in relation to the work of Michelangelo, his most skilled contemporary, earlier interpretations have tended to obscure Bronzino’s individual characteristics, including his characteristic use of colours in lifelike representations of clothing and accessories. Although rarely acknowledged in modern research, this trait was already remarked upon by the Venetian painter and art writer Paolo Pino, who considered Bronzino one of the best colourists of his day. I argue that Bronzino developed his style, which also characterises the Portrait, not in slavish imitation of Michelangelo, but in conscious response to the North Italian painterly tradition, where colour was very important. This argument is supported through an examination of the two different debates of the so-called Paragone, and related works of art of the sixteenth century: in Florence, participants (including Bronzino) argued that the superiority of painting and sculpture derived from disegno, whereas in Northern Italy colorito, was considered to be superior to disegno.

著者

山田 のぞみ

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.71, no.1, pp.121-132, 2020 (Released:2022-02-16)

著者

吉村 典子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.71, no.1, pp.145-156, 2020 (Released:2022-02-16)

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Richard Hamilton is a significant figure in Pop Art. After his iconic project in ‘This is Tomorrow’ Exhibition in 1956, he launched a number of Pop Art works and comments. In the early 1970s, LUX Corporation, a Japanese manufacturer of Hi-Fi amplifiers, approached Hamilton with its proposal to design a ‘Pop’ sculptural form of amplifiers for the 50th anniversary of its founding in 1925. On his own way to Japan in 1974 to consult with LUX Corporation on that proposal, he realised his interests lay less in three-dimensional objects than in the representation of form on a two-dimensional surface. In the end Hamilton created a two-dimensional art work and named it Lux 50—functioning prototype. Throughout this process, we can see Hamilton’s evolving attitude towards design and his approach toward his art work. This paper will analyse the records and documents of both LUX Corporation and Hamilton, and discuss areas where Hamilton’s art and design overlap. By examining the creative process of Hamilton’s work, we will see how Hamilton made a prototype ‘function’ in his two- dimensional art.

著者

岡野 宏

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.71, no.1, pp.157-168, 2020 (Released:2022-02-16)

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This paper treats the relationship of text and music discussed in Johann Mattheson’s article “Der melodische Vorhof”, which is compiled in the 2nd volume of Critica Musica, especially focusing on the concept of “sensus rhetoricus”. In this article, Mattheson criticizes the argument of Heinrich Bokemeyer about the relationship of text and music. While he claims that the text is a component of music and composers must compose music correspond to the text, Mattheson divides their connexion and proposes the liberty of music from the text. As an example of such musical liberty, we read the statement about the musical repetitions. While Bokemeyer lists some conditions for repetition, Mattheson’s requirement is basically only one, namely the fulfillment of the “sensus rhetoricus”. Though it is a meaning mainly constituted by the organization of subject and predicate, Mattheson requires to take the situation or context which are implied in the text into consideration. In this paper, the author reveals that this concept has two functions, namely to relate the text with music progressively and on the other hand to support traditional technique of repetition. This concept grants composers liberty to repeat, at the same time, warns against its abuses.

著者

武藤 太郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.70, no.2, pp.159, 2019 (Released:2021-05-08)

著者

久保寺 紀江

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.70, no.2, pp.160, 2019 (Released:2021-05-08)

著者

下村 滋美

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.70, no.2, pp.161, 2019 (Released:2021-05-08)

著者

土田 耕督

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.70, no.2, pp.162, 2019 (Released:2021-05-08)

著者

岩田 健佑

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.71, no.1, pp.1-12, 2020 (Released:2022-02-16)

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In diesem Aufsatz untersuche ich Hegels Begriff der Objektivität über Kunstwerk in den Vorlesungen über die Philosophie der Kunst. Hegel kritisiert, dass in modernen Kunstwerken die Objektivität verloren wird, und nennt diese Neigung den „Humor“. Aber er behauptet zugleich, dass einige Kunstwerke zwar humoristische sind, aber sie die Objektivität wiedererlangen. Jüngere Studien versuchten diese Objektivität nur auf Eigenschaft des Goethes Divan zu begründen, denn dieses Kunstwerk ist einzige Beispiel des „objektiven Humor“ in den Vorlesungen über die Philosophie. Hegel bestimmt aber diese Objektivität als die Gemeinsamkeit in seiner anderen Abhandlung. Der Begriff der Objektivität soll also entwickelt werden. Diese Objektivität wird durch die Phantasie des Künstlers aufgrund der substanziellen Empfindung dargestellt, und durch die Phantasie des Lesers oder Hörers eingenommen. Diese These wird durch die Bestimmungen der Empfindung und der Phantasie in der Enzyklopädie der philosophischen Wissenschaften ergänzt. Aus meinem Aufsatz können drei Erfolge erzeugt werden. Erstens, in dieser Bestimmung der Objektivität kehrt Hegel nach seine Hauptbestimmung der Kunst überhaupt zurück. Zweitens, sein Konzept der Phantasie hat Ähnlichkeit mit Schellings Konzept der Einbildungskraft. Drittens, seine Theorie erfordert, dass Zuschauer sich selbst in Kunstwerk finden. Es wird aber durch nicht klar Verstanden sondern unentschiedene Weise erreicht.

著者

竹内 有子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.71, no.1, pp.13-24, 2020 (Released:2022-02-16)

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Britain has a unique art education history, which is very different from that of the Continent. Major European nations established their art academies as state-funded schools focusing on fine art. In contrast, the British Parliament authorized the formal establishment of the Government School of Design (renamed as the National Art Training School in 1863, now the Royal College of Art) in 1837. It aimed to uplift the artistic quality of manufactures and to provide “design” education for British workers. The school elaborated the pioneering educational system, called the “South Kensington system”, in the latter half of the 19 th century. However, the school had been considered ill-managed and failed among Victorians. Also, former studies have negatively evaluated the school which did not envisage creativity for students. Casting a light on the autonomy of design as a new genre, this article shows the new clue to reconsider the problems, by focusing on the transformation made on the word “design”. The author examines how the school differentiated its education from the Royal Academy. Finally, this paper re-examines the significance of design education in the Government School of Design through the criticisms by Christopher Dresser (1834-1904) who improved the instructional method.

著者

橘高 彫斗

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.71, no.1, pp.25-36, 2020 (Released:2022-02-16)

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This paper examines the description in the first volume of John Ruskin’s Modern Painters of the process of the enjoyment of art, and clarifies how Ruskin illustrated that we see nature both internally and externally. Earlier studies regarded this book as a defense of J. M. W. Turner, and posited that it described Turner as a landscape painter who was faithful to nature, balancing romanticism and realism. However, Ruskin describes a process for the enjoyment of landscape art without explicitly naming Turner by using the word “idea.” I focus on this point and try to find new significance in the first volume of his Modern Painters.