Aesthetics

On the basis of natural object, such as mountains, rocks, streams, fields and woods, the landscape paintings of the Eastern Asia succeeded to discover their own space construction in perspective. The auther attempts to explain this from the viewpoint of "human eyesight".

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4. L'interpretation, qui est l'operation intellectuelle pour decouvert de la beaute artistique, suppose l'ordre ontologique de la beaute. Si non, elle ne soit qu'assertion de gout. 5. En effet, dans l'histoire cet ordre est toujours remarque entre des gens participants aux arts pas theoriquement mais pratiquement. On le comprend assez, quand on jette un regard sur des concours varies, dont l'idee est l'evalution objective. Nous faisons recherche des trois exemples : la tragedie grecque en Athene, l'institution de canon en Alexandrie et la compilation de stephanos de Meleagre. 6. Afin de constater l'ordre ontologique de la beaute, nous etudions le texte de Plotin. (Enneades I. 6.) Mais la convertibilite de beaute, en summum bonum chez lui a une tendence au fait que bonum decide la beaute. Et il y a beaucoup d'opinions sur bonum. Alors on se trouve avant le probleme de l'universalite subjective que Kant pense comme le deuxieme charactere du jegement esthetique. On doit penser desormais a sa quantite.

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Drawing (dessin, Handzeichnung), which is regarded as a general term for such works as sketch, design and study, is originally not a finished work of art, but a by-product of artistic creation. Nevertheless, it has its own beauty comparable to that of painted work of art. The main source of its beauty seems to lie in the lively lines, which are directly drawn by the hand of an artist, and represent only essentials of object neglecting the colour and other unnecessary elements. Moreover, in the manner of grasping the object and in the line itself, we can appreiciate vividly the individual character of a painter. The personality of an artist expresses itself in a drawing much clearer than in other kinds of paintings. For that reason, drawing is often considered an autonomous art in spite of its formal defect. Why is it, then, that the preparatory product of a painter has so high artistic value in comparison with that of a poet, musician, and the like? It may be due to the continuity of the creative process. In the art of painting, that is to say, in the art of vision, the internal image of an artist develops itself, for the eye to see, into the material form.

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