Aesthetics

[title in Japanese]

Article type: Cover
1969 Volume 20 Issue 3 Pages Cover1-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_Cover1

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[title in Japanese]

Article type: Cover
1969 Volume 20 Issue 3 Pages Cover2-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_Cover2

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La beaute et l'instant : Un essai sur une esthetique de l'instant

Eiichiro Kakeshita

Article type: Article
1969 Volume 20 Issue 3 Pages 1-9
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_1

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Le sujet central de cet essai est la recherche de la relation entre la beaute et le temps. Il est tres clair que nos recherches sur l'essence et la valeur de la beaute sont toujours en correlation avec nos interpretations du temps. Les interpretations du temps se divisent generalement en deux groupes : les unes se fondent sur la continuite temporelle et les autres sur la discontinuite du temps. A mon avis, la beaute ne peut avoir sa realite authentique que en un instant absolu (dans le temps isolement discontinu). Kant a interprete le temps comme la forme pure de l'intuition de la sensibilite. Hegel a pris dialectiquement le temps comme le point de contact du temps et de l'espace dans <<nunc>> absolu. Bergson a dis "nous ne pouvons pas mesurer le temps objectivement, il est comme <<duree pure>>". Mais en somme, ces trois philosophes ont pris le temps quantitativement comme une sorte de l'espace. Pour la premiere fois, Kierkegaard a interprete le temps en un instant isole comme une discontinuite absolue, une realite vive. Ensuite, nous avons parle de la doctrine unique de Gaston Bachelard qui critiquant la doctrine bergsonienne, a insiste sur la discontinuite temporelle et a pose une esthetique originale de l'instant.

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Uber Solgers Asthetik

Tsunemichi Kambayashi

Article type: Article
1969 Volume 20 Issue 3 Pages 10-18
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_10

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K. W. F. Solger wird gewohnlich fur Asthetiker der Schellingischen Schule angesehen. Dennoch in seinem "Erwin" behauptet Solger gegen Anselm (=Schelling), dass die Schonheit als unmittelbare Offenbarung Gottes, ohne Zwischentreten der Urbilder, zur Erscheinung komme. Dies ist der eigentliche Kern des Solger'schen Prinzips und sein Differenzpunkt gegen die asthetische Abbildtheorie Schellings. Wenn auch der Schellingischen Ansicht von der intellektuellen Anschauung und von ihrer Identiat mit der asthetischen Anschauung das Wahre im Innersten zugrunde liegt, so bleibt diese Identitat als Tatsache an sich unerklarlich. Dies aber ist die unuberschreitbare Grenze des asthetischen Idealismus, der die Kunst als das Organ der Philosophie betrachtet. Mit der Einfuhrung des dialektischen Moments erklart Solger exoterisch dieses esoterische Verhaltnis zwischen der ubersinnlichen und der sinnlichen Schonheit. Das ist die ironische Dialektik Solgers. In diesem Sinne beginnt Solgers Asthetik an, wo Schellings Asthetik zu Ende kommt. Oder genauer ist jene die aktuelle Ausserung dieser potentiellen Orientierung, die in der Asthetisierung des Welt-systems verborgen bleibt.

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On the factor of daily life in Rococo-Painting

Eiko Noguchi

Article type: Article
1969 Volume 20 Issue 3 Pages 31-43
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_31

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In France there are two styles of art, Baroque in the 17th century and Rococo in the 18th century. The former is an authoritative style of the era of Louis XIV. The latter is a free, decorative style of the Regence, favoured by a great many of the nobles. It was for everyone of the nobles, not for a king. The themes of Rococo-painting are the daily lives of many people in that period-fetes galantes, scenes of Italian and French operas, genres (of the court and the country), portraits, still lives, etc. And we find the "dream-world" of Rococo is built on the daily lives mentioned above. The writers of the enlightenment criticized this world, while they appreciated Chardin, Vernet, etc., because those painters expressed the reality of nature and society. But I appreciate both of them, because they equally deal with the daily lives familiar to us.

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[title in Japanese]

Article type: Appendix
1969 Volume 20 Issue 3 Pages 44-45
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_44

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"Hie-kare" : a face of the idea of Japanese beauty(Papers Read at the 20th National Congress)

Yukihiro Kurasawa

Article type: Article
1969 Volume 20 Issue 3 Pages 46-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_46

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In the middle ages of Japan, there are three types of beauty-yasashi, hie, and kare. Yasashi means something gentle, mild, soft, placid and warm. Hie is used for something cold, thin, pure, refined, noble, simple, exact and solid. Kare for something dry, strong, rough and violent. In his secret letter to Sumitane Furuichi, Schuko Murata (1422-1502) wrote, "Kare is not in itself beauty, it can be beautiful only under the condition that it is mediated with hie." This higher kare, i.e. hie-kare is one of the most unique ideas of Japanese beauty. According to the system of the training in art, on which Schuko, Zeami, Teika, Schinkei and the other great artists insisted, one must in the beginning train himself to bring forth only the beauty yasashi, because hie is too high and kare is too risky to try for beginners. Being purified or deepened, yasashi becomes hie necessarily. Because yasashi and hie are homogeneous in essence, in spite of great difference in their appearances. But hie and kare are heterogeneous, not only in appearances but also in essence. Therefore man cannot stand on the stage of hie-kare by merely purifying or deepening hie and kare. Only by jumping on the stage of hie into the stage of kare and by mediating kare with kare, man can give birth to the beauty hie-kare.

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Zngang zur Struktur des kunstlerischen Werts : nach Fiedlers Gedanken(Papers Read at the 20th National Congress)

Koji Monobe

Article type: Article
1969 Volume 20 Issue 3 Pages 48-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_48

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Hier heisst der "kunstlerische Wert" die Vorstellung einer bestimmten Ordnung, worauf es beruht, wenn eine Seinsart den Namen des Kunstlerisches verdient. Demnach die "Struktur des kunstlerischen Werts" die Struktur solcher Ordnung. Sie dient uns als Massstab, womit wir die kunstlerische Ordnung an Wirklichkeit von etwas anderem unterscheiden, und zugleich bedeutet sie das Wesen der Kunst. Um die Struktur des kunstlerischen Werts in diesem Sinne uns begreiflich zu machen, sollen wir uns gleich zuerst von der Voraussetzung, die in dem als gegeben angenommenen Verhaltnis des Denkens zum Sein liegt, befreien. Denn solche Voraussetzung pflegt die Betrachtungsweise uber das Wert-Problem fest-zusetzen und den Weg der Untersuchungen uber den kunstlerischen Wert (oder das Wesen der Kunst) irrezufuhren. Also versuche ich hier nach Fiedlers Gedanken, jene Voraussetzung einigen Prufungen zu unterwerfen und einen Zugang zur Struktur des kunstlerischen Werts zu finden.

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Collingwood's Art=Language Theory(Papers Read at the 20th National Congress)

Soichi Masubuchi

Article type: Article
1969 Volume 20 Issue 3 Pages 49-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_49

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Collingwood's theory that art is language is a principle that unify the twin definitions "Art expression" and "Art is imagination". This theory's ground is the distinction between symbolism and imaginative language or language proper. This theory, however, is found in The Principles of Art (the second period), but strangely is not found in Speculum Mentis, The Outlines of Philosophy of art (the first period) and The New Leviathan (the third period). What is this difference? His theory will be inquired as follows. 1st period). 1. The Lack of the Definition "Art is expression" 2. "Art is not pure language, but thought" 3. "Art is imagination". Analogy between Imagination and Questioning. Assertion-Suspension of Assertion-Questioning-Imagination. 2nd). 1. Analogy between Imagination and Consciousness. Trichotmy of Sensation, Consciousness and Intellect. 2. "Art is expression". Confrontation with The Technical Theory of Art. 3. "Art is language" 4. "The dance is the mother of all languages" 5. A language as any controlled and expressive bodily activity or an original language of total bodily gesture. 6. Aesthetics of Dance. 3rd). 1. Conversion of the Trichotomy to the Order of Consciousness. Structure of Aesthetic Consciousness. 2. Analogy between Aesthetics of Dance and Logic of Question and Answer.

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Der junge Erwin Panofsky(Papers Read at the 20th National Congress)

Nihei Nakamura

Article type: Article
1969 Volume 20 Issue 3 Pages 50-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_50

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Der Aufsatz, den der junge E. Panofsky in der "Zeitschr. f. Asthetik" Bd. X, 1915 veroffentlicht hat, "Das Problem des Stils in der bildenden Kunst", ist wie wohlbekannt die eine der fruhesten und wichtigsten Kritiken an H. Wolfflins Grundgedanken, der in der "Sitzungsberichte der Kgl. Preuss. Akad. der Wissensch." Bd. XXXI erschienen ist. Wenn man aber mehrere Rechtfertigungen und Revisionen, die Wolfflin nachher uber seinen "Grundbegriffen" gegeben hat, in Erwagung zieht, so musste man sagen, dass die Behauptung Panofskys das Wesentliche des Wolfflinschen Gedankens nicht verstehen, beziehungsweise den entscheidenden Kern der Kunsthistorie ubersehen hat. Gegen Wolfflinschen "ausdruckslosen Sehformen" sieht er die Form an fur nichts anderes als der Ausdruck der Seele, des Geistes oder der Weltanschauung, und im Gegensatz zum "Verhaltnis des Auges zur Welt" erhebt er das "Verhalten der Seele zur Welt". Diese Meinung aber auf der einen Seite geht nicht weiter als die Auffassung, die Sehformen nur fur die sinnlichen Wahrnehmungsformen zu betrachten ; auf der andern Seite kommt in Gefahr, von der Sphare der Form zum Gebiet des Sinns uberzuspringen. In dieser Weise nimmt er die spezifische, unersetzbare Eigenschaft der optischen Vorstellungsformen nicht in acht, und ubersieht das eigentliche Prinzip der Kunstgeschichte. Auch die Grundfrage der "Ikonologie", die er spater entwickelt hat, liegt meines Erachtens gerade in diesem Problem.

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A Treatise on the Prototype of the Architectural Style of the Horyuji Temple(Papers Read at the 20th National Congress)

Kazu Uehara

Article type: Article
1969 Volume 20 Issue 3 Pages 51-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_51

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The architectural style of the Kondo Hall in the Horyuji Temple used to be regarded as representative of the Southern and Northern Dynasties style in China (in the fifth and the sixth centuries). This traditional view of the structural style, however, must be considered to be in the wrong. After careful examination we must say that all the details of the Kondo Hall of the Horyuji Temple represent the Early T'ang Dynasty style (in the second half of the seventh century). Then the problem about the prototype of the cloud-formed bracket, which shows quite original design and structure not to be found in any architectural structures in later ages, must be carefully treated. The cloud-formed bracket used to be believed to have ist prototype in the architectural style of the Latter Hang Dynasty (in the second century). But this belief must be said to be only a fantasy without any convincing ground. In reality, the cloud-formed bracket was modeled after the bracket of the Tamamushi-no-Zushi Temple as an elaborate work of art, in the re-construction of the Kondo Hall of the Horyuji Temple. We can trace the source of the original but rather illogical construction of the Horyuji Temple back into the fact that this temple was constructed in imitation of the impractical work of art, the Tamamushi-no-Zushi Temple. Then, a problem may arise ; why the Horyuji-Kondo-Temple was reconstructed after the model of the Tamamushi-no-Zushi? The answer to this may be found in the fact that the Tamamushi-no-Zushi had a symbolic meaning as a memorial of the Buddhist faith deeply embraced by the late Prince Shotoku-Taishi.

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On some paintings of Amida-Raigo(Papers Read at the 20th National Congress)

Koji Yamamoto

Article type: Article
1969 Volume 20 Issue 3 Pages 53-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_53

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Various kinds of forms are observable in the representation of paintings of the Amida-Raigo (Buddha Amita Coming down to Welcome the Spirit of his Believer) in the Heian, Kamakura, and Muromachi periods. The Kubon-Raigo (Nine Kinds of the Rebirth of the Spirit) at the Taima-dera Temple in Nara is a typical form among them and composed of the same diagonal disposition of main figures with Amida-Raigo paintings at the Hase-dera, Anichi-dera, Shinren-sha, Konbu-in, Sanzen-in, Saikyo-ji, etc. This fact however does not mean the latters had developed from the former style of the expression. We should rather regard the latters as the same group with the so-called Shomen-Amida (Fullface Amita). Because they are much alike in such treatments as a rhythmical arrangement of Amida and his two attendants, Nana-Bosatsus, and Gakki-Bosatsus and a proper representation of ten Gakki-Bosatsus. We could not find in the Kubon-Raigo at the Taima-dera such certain rules of the representation like these. From this fact I insist that there are at least two different styles of Amida-Raigo paintings in the Middle Ages, that is, the Kubon style and the Shomen style. And all of the paintings at the Sanzen-in, Konbu-in, Saikyo-ji, etc. belong to the latter style.

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One of aspects of the Edo era paintings(Papers Read at the 20th National Congress)

Masatomo Kawai

Article type: Article
1969 Volume 20 Issue 3 Pages 55-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_55

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In the 18th century, the Edo era, Kano and Tosa schools had big influence as traditional academy since last period, even they were stagnant. Against those schools, some painters organized new schools and produced new devices getting rid of the academic limits. Those new schools were called Maruyama and Bunjin schools, but there were also another kind of artists who didn't belong to any school, and tried to create individualistic new art being free from traditions. SOGA, Shohaku was one of them. He was known as heretical painter of the Edo era as same as ITO, Jakuchu and NAGASAWA, Rosetsu. They made their efforts for setting new aspects in the traditional tendency. When we survey each painters through their styles of paintings, not through classifying them to schools, we find that those heretical painters have their own genealogy. It is true that they were not classified to any school. for their too strong individuality, but they were one of the main streams of paintings of the Edo era apart from the traditional Kano school. We can also say that it is possible for them to exist only in the decadance period of the later Edo era.

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A study of Bairei Kono(Papers Read at the 20th National Congress)

Yoshio Sakakibara

Article type: Article
1969 Volume 20 Issue 3 Pages 56-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_56

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Bairei Kono (1844-1895) lived as a painter in the period of rapid changes in Kyoto. He belonged to a traditional, Maruyama-Shijo-ha school and took many pupils. In his private school he professed the basic principles of Japanese paintings as Gagaku-koryo (codes of painting). The principles, which were in fact made almost of Chinese aesthetics, for instance, of Hsieh Ho's six principles of painting, included nevertheless a most important concept of Japanese paintings. The concept was built up on Jukkaku (ten notions about painting). These ten notions seem to have had great influence on the modern paintings in Kyoto.

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Durers Selbstbildnis(Papers Read at the 20th National Congress)

Kouji Shimomura

Article type: Article
1969 Volume 20 Issue 3 Pages 58-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_58

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Durers Selbstbildnis ist das fruheste Kunstlersselbstbildnis im Norden, in dem steht ein Kunstler fur sich allein mit der Absicht, sich zu "bekennen", wie Jantzen und Waetzoldt gesagt haben. Seit dem Munchener Portrat hat Durer zwar sein Selbstbildnis in manchen Zeichnungen gelassen, aber nicht mehr als einzelnes Bildnis sondern nur als eine der vielen Figuren in einem Bild. Solches Selbstbildnis aber verschwand auch mit dem Gemalde von 1511. Eine Zeichnung von 1522 deutet augenscheinlich eine Veranderung seines Bewusstseins an. Durer war also sich des Kunstler-Berufes bewusst und zuerst verglich sich selbst als einen Schopfer mit Gott. Dann begann er grosse Gemalde zu malen, um sich als einen Schopfer zu zeigen. Dieses Bewusstsein zog sich aber mit der Zeit zuruck, ging innerlich tief, und endlich liess ihn jenem schmersbeladenen Christo nachmachen.

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Uber eine Raumdarstellung des Jahrhundertendes(Papers Read at the 20th National Congress)

Toru Shimamoto

Article type: Article
1969 Volume 20 Issue 3 Pages 59-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_59

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Eine Darstellung des Herausgedrangtwordensein zeigt sich manchmal in der Kunst des Jahrhundertendes, besonders in der Plakatkunst von A. Mucha. In seiner Plakatwerken, die Hauptfiguren oftmals vorspringen aus ihrer Hintergrunden, welche bilden die Nischegestalten. Wir erleben in dieser Darstellung einen quasi-wahrnehmungsmassigen Raum anders als dargestellten Raum in der Werke. Solche Raumdarstellung findet sich auch in der Plakatkunst von Toulouse-Lautrec. Der rahmenartige Schattenriss des Kontrabass-spielers in einem Plakate fur Jane Avril herbeifuhrt ein Diesseitig-gefuhl ausser dem Jenseitiggefuhl, das wir erleben bei der Hauptfigur der Avril. Dies spezifische Raumdarstellung setzt eine andere Schicht als welche fur dreidimensionale Raumlichkeit von N. Hartmann voraus.

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Das Bestehen der Dichtung(Papers Read at the 20th National Congress)

Hiroko Kitamura

Article type: Article
1969 Volume 20 Issue 3 Pages 61-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_61

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Was ist die <<Perspektive>> in der Ontologie der Dichtung? Sie ist die Raumlichkeit, in der die Weltlichkeit der Dicht-welt, d. h. das <<Sprechen>> in das Da erschliesst. Der Dichter oder der Geniesser begegnet dem <<Sprechen>> ausder Perspektive her.

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Das musikalische Denken in der letzteren Zeit Beethovens(Papers Read at the 20th National Congress)

Eichi Shidehara

Article type: Article
1969 Volume 20 Issue 3 Pages 62-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_62

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Nach dem Ausdruck der Aufzeichnungen und Briefen Beethovens seit 1812 ist es klar, dass er um 1815, eine neue Geisteshaltung gegen Schicksal und Leben nehmend ein aktives kunstlerisches Dasein erfasst hat. Er musste daher erneut sich seiner Kunst hingegeben und sein musikalisches Denken immer tiefer durchgefuhrt haben. Das zeigt sich in der Fertigkeit der Thematik, Verkurzung des Themas und den Gegensatze u.s.w., die in seinen spateren Werke charakteristisch sind, darin ist die Qualitat des Fragens deutlich, die man im op. 132 oder op. 135 auffinden kann. Sie scheint es zu zeigen, dass er die Musik fur Dialektik von Fragen und Antworten genommen hat.

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[title in Japanese]

A. Ishida

Article type: Article
1969 Volume 20 Issue 3 Pages 63-69
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_63

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[title in Japanese]

Article type: Appendix
1969 Volume 20 Issue 3 Pages 74-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_74_1

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[title in Japanese]

Article type: Appendix
1969 Volume 20 Issue 3 Pages 74-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_74_2

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[title in Japanese]

Article type: Appendix
1969 Volume 20 Issue 3 Pages 74-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_74_3

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[title in Japanese]

Article type: Bibliography
1969 Volume 20 Issue 3 Pages 75-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_75_1

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[title in Japanese]

Article type: Bibliography
1969 Volume 20 Issue 3 Pages 75-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_75_2

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[title in Japanese]

Article type: Bibliography
1969 Volume 20 Issue 3 Pages 76-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_76

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[title in Japanese]

Article type: Cover
1969 Volume 20 Issue 3 Pages Cover3-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_Cover3

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[title in Japanese]

Article type: Cover
1969 Volume 20 Issue 3 Pages Cover4-
Published: December 30, 1969
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.20.3_Cover4

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