Aesthetics

'Ma' originally means 'space' in Japanese. We have regarded the beauty of 'Ma' as essentially significant in Japanese traditional arts. But it is equally essential in the understanding of Japanese traditional music to appreciate the 'Ma'-unique pause between sounds of strings (shamisen etc.), drums (tsuzumi etc.) and winds (hu-e etc.). In this paper, I have discussed the relation between the character of Japanese traditional music and 'Ma', and explained how the expression of 'Ma' is possible and what the expression of 'Ma' signifies.

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Der Kunstler schafft sein Werk primar, wie M. Merleau-Ponty sagt, in der Doppelheit des zugleich sehenden und sichtbaren Leibes d. h. der "Technik des Leibes". Am diesen Moment befreit die asthetische Existenz (insbesondere der Kunstler) sich vom Interesse fur das wirkliche Leben im ganzen, um sich jeweilig uber sich selbst hinaus zur transparenten Form umzuformen. Dadurch transponiert die asthetische Existenz sich in die Kunstwerkstruktur. Die schopferische Tat der asthetischen Existenz als des geschichtlichen Daseins geschieht im "Nullpunkt", worin die horizontale ausser-reale Zeit und die vertikale inner-irreale Zeit sich einander kreuzen. Dieser Schopfungspunkt ist der Augenblick, der, wie W. Perpeet meint, sich plotzlich zeitigt und mit der Zeitlosigkeit gekennzeichnet ist. Dieser Augenbilck ist zwar der asthetischen Existenz schlechthin eigentumlich und dem "ewigen Augenblick" O. Beckers analogisch. Wenn die Beckerische "Getragenheit" aber fur die asthetische Existenz charakteristisch ist, so soll diese Zeitlosigkeit etwa als vorgeschichtlich oder vorzeitlich betrachtet werden. Falls das wahr ist, konnte man sagen, dass sie jeweils in der uber Zeiterlebnis und Zeitbewusstsein transzendierenden Weise der asthetischen Existenz eine bestimmte Form einpragt.

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Velazquez's Bodegones paintings in his early period are inclined to be disregarded. Through the studies on them, however, we should recognize him as a great portrait painter who had an incomparably sharp eyes to objects. Ortega y Gasset (Velazquez, 1954) thinks that Bodegones has eight works in all. But it would be better for us to count nine works in all on referring to Jose Lopez-Rey's Velazquez : Catalogue raisonne (1963). These Bodegones paintings show a process through which Velazquez got out of Carvaggic influence and gradually made up his own style : the period when the main objects he painted were changing from inanimate objects to human figures. In this paper, the periods in which Bodegones paintings were born, are divided into three. The 1st period ; 1616-1617 (from the earliest work of Three Musicians to An Old Woman Frying Eggs), the 2nd ; 1618-1622 (The Waterseller), the 3rd ; 1623-1629 (the latest work of Drunkards or The Triumph of Bacchus). We could find in these Bodegones a principle of "the very imitator of the natural". They show us not only the style of young Velazquez's painting, but also a remarkable tendency of European history of painting from the end of 16th century to the early 17th. To sum up, Bodegones paintings were inevitable for Velazquez to go forwards to his second period of work.

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