Aesthetics
Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962
Volume 15, Issue 3
Displaying 1-30 of 30 articles from this issue
  • Article type: Cover
    1964 Volume 15 Issue 3 Pages Cover1-
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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  • Article type: Cover
    1964 Volume 15 Issue 3 Pages Cover2-
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
    JOURNAL FREE ACCESS
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  • Kiyoshi Imai
    Article type: Article
    1964 Volume 15 Issue 3 Pages 1-3
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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    Aesthetic attitude is different from ordinary one that a man purely devotes himself to an impression. This impression is a "Vorstellung", so we experience the "gefuhlmassiges Erfassen der Vorstellung" and have the "Vorstellungserlebnis". In order to observe more deeply the aesthetic experience, the problem on artistic activity must be researched. From this point of view I take up the "portrait" as the matter in hand, and try to clasp the positivity of aesthetic experience by investigating the creative "intention" of the artist and appreciator.
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  • Akira Ishida
    Article type: Article
    1964 Volume 15 Issue 3 Pages 7-9
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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    Art, in its original existence, had its root deeply in religious feast, but, when it emancipated itself from the chains of religion at the beginning of the modern age, it had to bear its destiny by itself. The intention of this study is to inquire what is the metaphysical basis that determines the destiny of art in the modern age, and then what way art is destined to go on.
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  • Shoiti Omori
    Article type: Article
    1964 Volume 15 Issue 3 Pages 10-12
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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    We can find Plato's theory of art in some dialogues. The most famous is a view of the banishment of art and artist from his republic according to the metaphysical and ethical point of view. (Platon : Respublica, 597a-606c) It, however, is a negative side in Plato's theory of art. Now I will investigate an affirmative side. Moreover, if we consider on critical character in the ancient theory of art, we can not ignore the history of fine art in the times of Plato. And in connection with the history of fine art in the times of Plato, I will investigate Plato's theory of art.
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  • Susumu Kasima
    Article type: Article
    1964 Volume 15 Issue 3 Pages 16-18
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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    Die Definition, die Kant von der Urteilskraft als einem oberen Erkenntnisvermogen gibt, ist "Urteilskraft uberhaupt ist das Vermogen, das Besondere als enthalten unter dem Allgemeinen zu denken.... Ist aber nur das Besondere gegeben, wozu sie das Allgemeine finden soll, so ist die Urteilskraft bloss reflektierend." Das Problem der Urteilskraft wurde gemass dieser Erklarung mit dem Problem der Begriffsbildung zusammenfallen. Es ist gultig, dass das Problem der reflektierenden Urteilskraft mit demjenigen der Begriffsbildung-Gattungsbegriff oder Typusbegriffsbildung zusammen fallt.
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  • Hisaaki Katayama
    Article type: Article
    1964 Volume 15 Issue 3 Pages 22-24
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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    On a souvent parle de l'intuition esthetique de Bergson, mais rarement de ses idees de la fabrication artistique. Il s'agit d'abord de savoir comment s'unir le corps de l'artiste et son intuition esthetique, puisque l'artiste est oblige d'utiliser son corps en creant son oeuvre. La reponse se donne par deux schemes, que Bergson traite dans "Matiere et Memoire" et dans "L'effort intellectuel". Ensuite, dans "L'evolution creatrice", il se livre au probleme du 'faire', qui est la fabrication des outils pour vivre. C'est le role de l'intelligence, qui est contraire a l'intuition. C'est par l'approfondissement de leur rapport, que l'on peut resoudre la contradiction implique dans la fabrication de l'oeuvre d'art. Enfin, on arrive au probleme de la fabulation discute dans "Deux sources". C'est celui de la source de l'art et de l'art primitif. Bergson a donc considere de toute sa vie le probleme de la fabrication artistique.
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  • Kimimasa Abe
    Article type: Article
    1964 Volume 15 Issue 3 Pages 25-27
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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    The artistic theory of "Konkrete Kunst", advocated by van Doesburg in 1939, developed by Max Bill in his many writings, is the one which can best help us not only in the appreciation of the true nature of this new artistic trend, but also in the formulation of the theory of modern design. When Bill points out that it is necessary to consider science (mathematics) under a new light, the problem of the relationship between art and science becomes a very important one. And here we can see that the concept of "Struktur" in modern physics and in modern art takes an important role. Only through such an approach, I think, we can formulate the theory of modern design.
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  • Hisao Miyajima
    Article type: Article
    1964 Volume 15 Issue 3 Pages 28-30
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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    The Bauhaus, which Walter Gropius founded in 1919, was not only a shool of design, but also a studio of production, where apprentices were educated at the same time. At this point the Bauhaus succeeds to the guilds of J. Ruskin and W. Morris. This means that they understand the meaning of design as a human act of making of things, both by hands and by machine. The same aspect of design is found in the Fiedler's theory of art. The theory of design, which is not yet founded, will be researched in this direction.
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  • Tadashi Shishido
    Article type: Article
    1964 Volume 15 Issue 3 Pages 31-33
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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    The history of Italian Quattrocento sculpture was opened by the competition for the 2nd Door of St. Giovanni Batistery, but Ghiberti and Brunelleschi were still in the gothic tradition though they were revolutionary. True Quattrocento began by Donatello's St. Mark for Or San Michele, because Lamberti lost its contract and Donatello not only gained it but also showed a deep understanding of Roman art in it. Lamberti's St. Mark for Fassade of the Cathedral shows striking resembrance in drapery to the Madonna enthroned of Tres belles Heures du Duc de Berry. Common language was talked by Ghiberti, too. In the early 15th Cen., there were various trends ; the international style (c. 1405-1415/6) by Lamberti and Ghiberti, the classicism by Nanni bi Banco, the realism by Donatello (after c. 1409). They vied with one another in making the Patron Saints of guilds for Or San Michele. It is, therefore, a exhibition-hall of the early Quattrocento Sculpture in Florence. In St. Luke, Nanni, I think, made first attempt to combine the statue with the eyes of beholders before the Main Portal. An attempt of this sort was made in a curtain behind Quattro S. Coronati. It gives the visual continuity to the groups and combines the space in Niche with that of beholders' standpoints.
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  • Minoru Saito
    Article type: Article
    1964 Volume 15 Issue 3 Pages 34-36
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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    Vom 14. Jahrhundert bis zur ersten Halfte des 15. Jahrhunderts suchte man in Frankreich und Flandern in der Buchmalerei nach neuen Ausdrucksformen, deren Erfindung der Kunstgeschichte fruchtbaren Erfolge brachten, z. B. bei den Livre d'Heures und Breviaire. Diese neuen Formen sind aber dann aus der Buchmalerei in die Tafelmalerei ubernommen worden. Da die Raumordnung eines Bildes uberhaupt besser in kleinem Format als in Grossformat dargestellt werden kann, beruht der Fortschritt der dreidimensionalen und realistischen Raumkonstruktion in der Buchmalerei auf der konzentrierten Verwendung des kleinen Formats. Die Entwicklung der neuen Ausdrucksformen ist ; 1. Die Einfuhrung der Perspektive und die Entwicklung der Raumdarstellung 2. Die malerische Darstellung, z. B. in dem Stundenbuch von Brussel 3. Die Erfindung der Luftperspektive und die Verbesserung des Farbmittels, z. B. in dem Stundenbuch von Boucicaut 4. Die realistische Darstellung der Natur und des Menschenlebens in dem Stundenbuch des Herzogs von Berry 5. Die Verbesserung der Olfarbe und der Olmalerei mit der Miniatur-Technik.
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  • Toshihide Furukawa
    Article type: Article
    1964 Volume 15 Issue 3 Pages 37-39
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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    The four landscape paintings of the Seasons (1660-1664) are the most important works in N. Poussin's last years. Each picture illustrated by an event from the Old Testament is worked out to be varied one another ; as it were, a realization of his "degli modo". It has been generally noticed that the landscapes of Poussin have more or less some allegorical meanings. His inimitable skill could represent these symbols without direct formality, wrapped up in the nature. The allegory under the pretext of the seasons is typical example of connotations underlying Poussin's landscape as a composed world.
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  • Tsuneo Takeda
    Article type: Article
    1964 Volume 15 Issue 3 Pages 43-45
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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    As the foundamental elements of gilt paper, golden cloud and golden ground are painted out. Golden cloud, originating in the manner of the cloud shapes of Yamato-e, covers the unnecessary parts or partitions the space to emphasize the motif. So it is, in principle, put as the foreground of the expressed objects and space. On the other hand, golden ground is laid as the background of objects, relieving them. The modality of gilt paper is divided into three steps. At the primary step only golden cloud is used. At the next, both golden cloud and golden ground. And the final, only golden ground.
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  • Junichi Kikutake
    Article type: Article
    1964 Volume 15 Issue 3 Pages 49-52
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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    We see one of the most characteristic aspects of chinese painting in the socalled pai-hua (white drawing). Pai-hua is not a rough sketch or a design serving as a preparation for finishment by colour, but a complete line-drawing itself. It has been said that pai-hua appeared at the end of Later Han dynasty and grew in the Six dynasty era and that it was completed by Wu Taohsuan in Tang era. But it is impossible to identify pai-hua in Tang with that in Six dynasty as a classical sort of pai-hua. I want to indicate this delicate difference both by literary evidences in Tang and Sung era such as "Li-tai ming-hua-chi" etc., and by investigating the technique of a wall-painting in Tang era.
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  • Kosaku Toguchi
    Article type: Article
    1964 Volume 15 Issue 3 Pages 53-56
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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    Nachdem ich die musikalische Notation des Codex Rossi 215 der Biblioteca Vaticana untersucht und einige Fragen uber die Erlauterung Pirrotta's, besonders der Divisiones, vorgeschlagen hatte, die sich nicht im klassischen System der italienischen Notation des Trecento finden ("Ongakugaku" X, 1) blieb mir die Analyse der in diesem Codex enthaltenen Stucke ubrig. In diesem Bericht habe ich von meinem literarischen und musikalischen Studium uber die 21 Madrigale des Codex gesprochen. Die Form des Madrigals war auch in der Zeit des "Syntagma Musicum" von Michael Praetorius literarisch nicht eindeutig festgestellt, und es war im Trecento nicht als eine vortreffliche Gattung der Dichtung gemeint. Es ist aber sehr sicher, dass das Madrigal quantitativ und qualitativ die wichtigste musikalische Gattung war, in der die Mehrstimmigkeit des Trecento entstand. Ich teile mit Martinez die Hypothese, das Madrigal auch als Dichtungsart erst in Verbindung mit der Musizierpraxis entstanden sei. Aber ich bin wenigstens fur die Madrigale des Codex Rossi nicht von der unfehlbaren Beteiligung von Instrumenten uberzeugt.
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  • Takashi Asano
    Article type: Article
    1964 Volume 15 Issue 3 Pages 57-60
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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    During the second half of 16th Century, especially from 1570 to 1600, we found new style of the music in England. When English feudalism was diclined, English associated with continental countries actively. There in no doubt that many foreign musics and musicians, especially Italian music, came to England. One of these is Madrigal. Now, I will start to research the process in which the Italian Madrigals change into English after they were transplanted to England. First of all, look up the anthologist (Yonge, Watson, Dawland…). Secondly, most important musicians in this case, Thomas Morley and Alfonso Ferrabosco who exercised an influence upon the English Madligal extremely. And then, most brilliant age, Weelkes Wilbye Ward and so on.
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  • Kazuho Inagaki
    Article type: Article
    1964 Volume 15 Issue 3 Pages 60-63
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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    Comparison of three different models between mass-communication and verbal communication and aesthetic communication, is useful to explain the meaning of art media. Encounter of. audience with messages occurs always in time stream. And, photoplays and broadcasting plays are always carried out in time duration and have their genuine temporal structures. Sometimes, temporal moment of various messages coincides with that of those plays. Today, senders of messages have a freedom for selecting their suitable temporal strctures. This means that aesthetic moment of mass-media can be satisfied under cetain conditions. Analytic dimension of film-experience has been too much discussed, but, synthetic dimension of it remains uncriticized till now. M. Merleau-Ponty has given a good suggestion about the latter.
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  • [in Japanese]
    Article type: Article
    1964 Volume 15 Issue 3 Pages 64-68
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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  • Article type: Appendix
    1964 Volume 15 Issue 3 Pages 68-
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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  • E. Shidehara
    Article type: Article
    1964 Volume 15 Issue 3 Pages 74-75
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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  • Article type: Article
    1964 Volume 15 Issue 3 Pages 74-
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
    JOURNAL FREE ACCESS
    Download PDF (147K)
  • E. Shidehara
    Article type: Article
    1964 Volume 15 Issue 3 Pages 75-76
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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  • E. Shidehara
    Article type: Article
    1964 Volume 15 Issue 3 Pages 75-
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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  • S. Yamashita
    Article type: Article
    1964 Volume 15 Issue 3 Pages 76-
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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  • Article type: Appendix
    1964 Volume 15 Issue 3 Pages 76-
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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  • Article type: Bibliography
    1964 Volume 15 Issue 3 Pages 77-
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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  • Article type: Bibliography
    1964 Volume 15 Issue 3 Pages 77-
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
    JOURNAL FREE ACCESS
    Download PDF (61K)
  • Article type: Bibliography
    1964 Volume 15 Issue 3 Pages 78-
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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  • Article type: Cover
    1964 Volume 15 Issue 3 Pages Cover3-
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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  • Article type: Cover
    1964 Volume 15 Issue 3 Pages Cover4-
    Published: December 30, 1964
    Released on J-STAGE: May 22, 2017
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