美学

表紙

原稿種別: 表紙
1961 年 12 巻 3 号 p. Cover1-
発行日: 1961/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.12.3_Cover1

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目次

原稿種別: 表紙
1961 年 12 巻 3 号 p. Cover2-
発行日: 1961/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.12.3_Cover2

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様式展開の問題

林健太郎

原稿種別: 本文
1961 年 12 巻 3 号 p. 14-16
発行日: 1961/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.12.3_14

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This article is a study mainly on H. Lutzeler's Grundstile der Kunst. The styles in Plastic Art should develop in accordance with their own immanent logic, and this supposition can in theory be applied both to the general history of art and to the artistic growth of an individual artist, for example, to that of Raffael.

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美術作品における様式の問題

郡定也

原稿種別: 本文
1961 年 12 巻 3 号 p. 16-20
発行日: 1961/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.12.3_16

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Conception of style has been placed, positively or negatively, in the central part of methodological problems in the process of modern science of art and art history. Its meaning, however, is very confused and equivocal. Here, thinking of style as a peculiar structural totality of the work of fine art, we try to examine few past considerations about style-concept which can be treated as concerned with the stylistic structure in the phenomenon of plastic work itself-namely, theories of E. Panofsky, E. Wind and H. Beenken, and lastly to maintain that we, with H. Sedlmayr, could understand under "the structural analysis" a significant and useful method of studying individual style in its whole character. Style as belonged to intuitve totality of the work is neither a mere form of expression nor a mere content of it. Rather we must always find in it an organic, dynamic connection between the outside and inside of artistic event.

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シャルトル本寺の円柱彫像

乾由明

原稿種別: 本文
1961 年 12 巻 3 号 p. 21-24
発行日: 1961/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.12.3_21

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The jamb statues of the Royal Portal at Chartres (1145-1155) show the two different styles, one is rather conservative style revealing close affinity to Romanesque sculpture, esp. Burgundian and Languedocian art, and the other is more original that has been created by a excellent master who would have supervised the most part of carving at the Royal Portal. The merits of this Headmaster's works are considered to be incorporated into the architectural structure. Approximated in shape to columns, the statues have a strict verticality, that is a long and stiff bodies in primitive style, but they get a new plasticity instead of the two-dimensional character of the Romanesque sculpture. Their natural looks and delicate modellings suggest the later developments of the High-Gothic naturalism. From this point of view, it seems that the jamb statues of Chartres and the similar works in those days exhibit a transitional, therefore an intermediate style between Romanesque and Gothic art.

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イタリア近世初期美術における空間構成の問題

上平貢

原稿種別: 本文
1961 年 12 巻 3 号 p. 25-28
発行日: 1961/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.12.3_25

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The theoretical perspective, which originated in Qnattrocento Italy, evolved as an abstract and intellectual pursuit of reproducing natural views, -as a legitimate construction for "a view through a window", and as a search for a mathematical principle of vision. But this measurable and scientific principle cannot be said to have been successfully assimilated into art experience. The establishment of a vanishing point which focuses and crosses upon a difinite point of a picture significantly testifies to the vision of the Modern artist, which distinguishes him from the Medieval. It enabled a painter to reserve his right to the free presentation of his picture, while it made him responsible for all his duties as a supervisor of his art ; he was to interpret his subject on his own responsibility and present it to the spectator. As it is, we find rather few practices of this meaningful point in the art of the period : though, of course, we often see linear perspectives, which help conduct spectator's eyes or divide (or link) several scenes of a picture. A vanishing point or a horizon (a locus of v. p.) hides itself behind something, and in many instances spatial construction is achieved with fore-and middle-grounds without the back-ground. The something may by traced up to the preceding age, and be its significant heritage, transcendental and spiritual. But this knotty subject seen in the spatial construction of the Quattrocento art may not be characteristic of the struggling artist of the forming period of modern art philosophy.

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フィレンツェ洗礼堂の第三の扉のパネル浮彫りに於ける空間表現

宍戸直

原稿種別: 本文
1961 年 12 巻 3 号 p. 28-32
発行日: 1961/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.12.3_28

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Ghiberti did not follow L. Bruni's programme, but adopted the ten panels system and put a large visual space upon them. Such an inclination of his can be found in the "malerisch" quality in the Baptism of Christ at Siena. In the 3rd Door, the landscape has integrated the various scenes of the story into one composition temporally and spatially and enriched the narrative quality. These scenes are each allotted the space in layers, and the movement from left to right (or from right to left, then left to right in a zigzag way) narrate the story combining these layers with each other and make us perceive the depth of space. This movement corresponds with the order of the narratives arranged on the Door. "Sehen" starts from the Genesis and stops at the Solomon in which we can few recognize this movement. It is this principle of "Sehen" that gives us the most persuasive power to the story on the Door. The foreground figures from upper Panels to the Mose's & the Joshua's decrease in size gradually and increase about 3 cm in the David's. In this data, we may suppose Ghiberti uses the law of compensation of "Sehen".

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デューラーの美的形成論

川上実

原稿種別: 本文
1961 年 12 巻 3 号 p. 32-35
発行日: 1961/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.12.3_32

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In the various literary remains by Durer (particularly in his introduction and the third Book of "Human proportion"), man can find his "considerate" ideas about beauty. Needless to say, they show rather the classical and italian tendencies than national, but he ultimately gave a characteristic methode of the idea : critically examining the human judgment of beauty, he thought of it as subjective and relative (or conditional) one, which had therefore many possibility. He, however, set up several criterions that might draw a clear line between the conditionally beautiful object and the unconditional ugly one, for the urpose of getting a universal unity of quality of beauty. Then the beauty that had been prescribed by these criterions, was, by Durer, formed in the process of collation between mathematical-rational rules and experiential-irrational object in nature. For this reason, he had to get two procedure : to get the good proportion and to put it in practice.

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デューラーの黙示録について

勝国興

原稿種別: 本文
1961 年 12 巻 3 号 p. 36-39
発行日: 1961/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.12.3_36

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Duerer's "Apocalypse" consists of text and pictures, in the reverse side of which text is printed. But its pictures are independent of the text and have the function of "Speaking in itself". The pictures, visualizing vividly what is described quite abstractly in the text and depicting the events in succession in the form of "Zyklus", have ceased to be mere illustrations, but got an equal weight with it. And in order to emphasize the character of "Speaking in itself", Duerer intended to introduce dramatic effects into the pictures, using often contrasting composition which concentrate what are described in the different parts of the text as separated events on one picture. Therefore the scene, consisting of mutually independent events, shows powerful tension and dramatic effect. Thus the picture of Duerer's "Apocalypse" appeals to the beholders not only in itself but also dramatically.

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作品に表現された時間の問題

島本融

原稿種別: 本文
1961 年 12 巻 3 号 p. 47-49
発行日: 1961/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.12.3_47

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So-called "represented", time in literary works used not to be considered as an object of a different kind from many other represented ones. In my opinion, however, there is a "represented", but permitted to be experienced time in those works which have a special construction, for instance, in Dos Passos's "U. S. A.". We find in this work, esp. in THE CAMERA EYE series, many a characteristic formal construction-spacing out of lines, non-use of capital letters (except for propernouns) and punctuation marks, etc. And such peculiarities give this series a strange appearance, compared with other series of description in this work. We should find in this repetition of EYE series a sort of time-experience. In consideration of the author's intentions, I have suggested a character of this time which ought to be "represented" but "experienced" as well.

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《真実らしさ》と《適わしさ》の概念 : フランス古典主義の文芸理論

木幡瑞枝

原稿種別: 本文
1961 年 12 巻 3 号 p. 50-52
発行日: 1961/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.12.3_50

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The Theory of Poetry was formed in France about 1630&acd;1680. <<La vraisemblance>> and <<les bienseances>> are the central conceptions of the theory of this period. <<La vraisemblance>> provides for the subject or the plot of tragedy and <<les bienseances>> provide for the character in it. Both words derived from Aristotle's Poetics, which came through Italy. French theoreticians in 17th century made the laws of both rules, dictated by abstract and universal reason. <<La vraisemblance>> demands that poets should express the ordinal fact in this world. <<Les bienseances>> prescribe types for the characters of persons and each character is applied to them. Although taken from the ancient history, sometimes the plot of trgedy was modified by poets, because they had to match their works with the taste of public. And both laws require to imitate the eternal and universal existence, the truth, and they also require that tragedy expresses a better person. After all, both conceptions characterized classic literature especially in the imitation of nature, besides it seems that authors created the new quality of poem confoming to rules.

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小説「罪と罰」の位置と構造

山田幸平

原稿種別: 本文
1961 年 12 巻 3 号 p. 53-55
発行日: 1961/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.12.3_53

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In "Crime and Punishment", the peculiarity of Dostoyevsky's literature is manifested, because, with it, his position as an artist and a thinker, was determined. After twice attempting, Dostoyevsky eventually succeeded to give Raskolnikov the posion of a central figure in his work. The name Raskolnikov was derived from the separatists (Raskolnik) of the Greek Church, appearing in the middle part of the 17th century. Through his successive murders and confessions made twice, the author attempted to predict the confrontation between the two world philosophies, the Greek Church and atheism, and between the ego and entity. In other words, the tragic rift between Dostoyevsky and Russia. Raskolnikov, of course, is not Dostoyevsky himself. By introducing Svidrigailof, a figure most closely reminiscent of the author, Dostoyevsky presents a most dynamic tension caused between "the one who sees" and "the one who is seen."

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フィグーレンレーレについて

服部幸三

原稿種別: 本文
1961 年 12 巻 3 号 p. 56-59
発行日: 1961/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.12.3_56

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In the musical theory and aesthetics of the 17th and 18th centuries the so-called musical "Figures" play an important role. In studying these "Figures", it is most important to observe and grasp them in the light of the musical style and philosophy, which constitute the background of them. From this point of view the author has studied the original theoretical works of J. Burmeister, Chr. Bernhard, J. G. Walther, J. Mattheson and J. A. Scheibe, laying special emphasis upon the practice of musical composition, as explained in each of them, and intending to obtain a comprehensive survey of the development of the "theory of musical figures".

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マルティン・ハイデッガー, 『言葉への道程』, Martin Heidegger, Unterwegs zur Sprache, Tubingen, Neske, 1959, 269S.

三間千艸

原稿種別: 本文
1961 年 12 巻 3 号 p. 65-69
発行日: 1961/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.12.3_65

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クーパー・メーヤー, 「音楽におけるリズムの構造」, Grosvenor W. Cooper & Leonard B. Meyer, The rhythmic structure of music, Chicago, The University of Chicago Press, 1960, 212p.

Y. Tokumaru

原稿種別: 本文
1961 年 12 巻 3 号 p. 74-75
発行日: 1961/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.12.3_74

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ツッカーカンドル, 『音楽の意味』, Victor Zuckerkandl, The sense of music, Princeton, Princeton Univ. Press, 1959, 246p., with scores 32p.

T. Fukuda

原稿種別: 本文
1961 年 12 巻 3 号 p. 75-
発行日: 1961/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.12.3_75

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The Bigaku (Aesthetics)

原稿種別: 文献目録等
1961 年 12 巻 3 号 p. 76-
発行日: 1961/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.12.3_76_1

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奥付

原稿種別: 文献目録等
1961 年 12 巻 3 号 p. 76-
発行日: 1961/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.12.3_76_2

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英文要旨

原稿種別: 文献目録等
1961 年 12 巻 3 号 p. 77-
発行日: 1961/12/30
公開日: 2017/05/22

DOIhttps://doi.org/10.20631/bigaku.12.3_77

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