Abstract
Against the term "film color", that means one of the modes of color appearance, I propose to retain the term "pseudo-film color", meaning a rather loose notion added to the figural factor. The application of this term to the plastic arts is supposed to make it easy to explain the expression of the filmy quality of color within them. As one of the apt examples of such presentations, we find the eyes of the Haniwa, unearthed from the Japanese old mounds. Even though Haniwas have no representational eyes, they yield the innocent looks expressing the primitive speculation on the non-realistic presentation. The expression of the Haniwa's face differs expressly from that of the Greek sculptures, whose eyes are now lost. A sort of ambiguousness contained in the characteristic of the Japanese expression causes that difference. To be ambiguous is to be adaptive. To be adaptive means not to be demarcated visually and/or psychologically. The cause of the adaptive quality lies in the negative phase to the representative naturalism, which the Haniwa has in common with the Noh mask. All above come from the pseudo-film color in the hole eyes. The eye is recognized to have the most expressiveness and a dreadful magical power, while according to the total lack of its actuality the eye brings out diversity of the vision. There are the eternal time, the infinite space, the death and the grief filled in the small holes of the Haniwa's eyes. That is the most splendid success that comes from the forming with the qualities of the pseudo-film color.
