美学

From the early part of Meiji era (1868-1911), when European music was imported into Japan, artistic values of Japanese traditional music were begun to take into consideration, compared with those of European music. Though most of Japanese intelligentzia had a sense of inferiority for their own music, some specialists of Japanese music insisted a superiority of artistic values of Japanese music to those of European one. This treatise introduces such disputes and some representative opinions of Japanese traditional music, which were written on old newspapers, magazines and books in Meiji era. This is the one part of my researches on a history of study of artistic values of Japanese traditional music.

抄録全体を表示

抄録を表示する抄録を非表示にする

Japanese people in ancient or middle times, unable to distinguish mind from flesh, sought "mind" (Kokoro) in everything expressed. Regarding "mind" as superior contents of an expressed work, they had a competitive spirit to try to elucidate "mind" within the limit of expressional media. Such a competitive spirit played as a motive power in a creative process. In the course of time, they found "mind" not only very much complicated in meaning, but available to act as a core in a work. According to a principle fromed from long Japanese tradition of poetry, "mind" is a core which unifies all phenomena and which is capable to express maximum meaning by minimum device of expression. This principle was also derived from deep-hearted contemplation or observation on delicate changes or progresses of nature, and it is a theoretical support to some special artistic ideas of Japan, for example "Yugen", "Yojyo", which contain more than expressed meaning. And it formed a back-bone in "Noh", too ; it is the result of competitive spirits of Japanese poets, artists more than sentimentality of the nation.

抄録全体を表示

PDF形式でダウンロード (1148K)

"Die Geburt der Tragodie" enthalt die Eigenart des lebenlangen Gedanken Nietzsches. N. ist als Denker intuitiv, bildlich, von einer eigentumlichen Versinnlichungskraft, und er selbst ist auch tragisch in gewissem Sinne : seine Lebenslauf und seine Gedanken! Besonders entwickelt sich sein Gedanke dramatisch. Und zwar spielen Apollo und Dionysus die Hauptrollen in einem Drama : "Die Geburt der Tragodie". Erstens spielen A. und D. ihre Rollen in der Geschichte der griechischen Kunst. Zweitens spielelen sie sie in dem Gattungswandel. Und schliesslich erreichen sie die Klimax der dramatischen Entwicklung, d. h. die griechischen Tragodien. N. hatte Dionysus durch sein ganzes Leben zum Thema. Nur in seinen fruheren Schriften wohnt Dionysus mit den Hinterweltlern.

抄録全体を表示

The works executed by the great, epochmaking artists in their youth always presnt us a very hard problem to solve. Above all we have the greatest difficulty about Giotto's intercourse with his close artists -Cimabue, Cavallini, the Umbrian school, and the Roman school which, it seems to me, played a part in the erection of the S. Francesco basilica and the decoration of it with wall paintings- is not plain enough to us. It is natural, however, that we should continue to do our best to arrive at an approvable conclusion. Even if our view on the possible authorship of frescos in the above basilica is by mere guess, there is no doubt the existence of some connection between Giotto and the works in Assisi. We cannot but think that Giotto's early works which led to his art in Padua and the establishment of formal principles in early Modern art could be produced only in the S. Francesco basilica. For it was in truth the most suitable place for the growth of young Giotto.

抄録全体を表示

J-STAGEへの登録はこちら（無料）