Nous avons plusieurs ouvrages sur l'histoire de la peinture japonaise, dans les dernieres du 17^e siecle. Pourquoi ont-elles paru, pour la premiere fois, a cette epoque-la? Il faut savoir la raison de ces eruptions soudaines. Nous saurions considerer ces sortes de l'histoire de peinture japonaise a la fin du 17^e siecle, comme les resultats des efforts pour recuperer l'art qui, depuis quelques generations, a affaibli, presque tombe dans l'oubli. Ces negligences pour les arts du passe ont ete developpees par les activites d'art qui avaient des tendences a se concentrer dans le cadre de l'oeuvre optique et neutre : elles ont omis les fonctions intermediaires qu'avaient eues, pour les communautes, les arts japonais du passe. Les ouvrages, parus au 17^e siecle, se sont efforces de ressusciter ces fonctions. Mais, en vain. C'est parce qu'il avait le probleme de la division de l'epoque.

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I Parce que le beau ou la beaute est un fait de la conscience humaine dont la forme fondamentale est jugement, on doit chercher la structure du beau par l'analyse du jugement. Mais le beau ou la beaute, c'est un terme pour qualification et non pour quantification. Alors l'analyse du jugement a rapport du beau doit etre absolument philosophique. II Il y a deux elements essentiels du jugement, c'est-a-dire, la proposition au cote de langue et la decision au cote d'intention. III Au cas de l'analyse de proposition je propose deux rapprochements, c'est-a-dire, (1) la reflexion du degre de l'identite entre sujet, objet et medium, dont la forme supreme est l'experience extatique du beau. Ce fait temoigne sa transcendance, et (2) la reflexion de la proposition sans sujet, c'est-a-dire, de l'experience qualitative remplie. Cette experience suffisamment contentee, dont le paradigme est l'experience du beau, est le principe dynamique de la creation humaine. C'est une petite image de creatio ex nihilo. IV Dans le cas de la decision, il se pourrait que la selection du moyen pour l'acte soit la plus importante. Quand il y a deux moyens moralement equivalents, si l'on choisit un moyen plus victime, on fait un devouement. Ce depassement du bien moral est le beau.

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Sometimes it is said that the art is expression, and it may mean that the art does not represent the outer world, but express the inner life, i.e. feeling or emotion of the artist. Then art may be regarded as one kind of the self-expression, but is it true? Certainly art contains some symptomatic expression : for example, in the painting, touches of a brush or some partiality of a color take for the symptom of the artist's feeling. But that is the spontaneous and unconscious expression, and not the artistic expression which is deliberate embodiment of the feeling. To express, artist must at first objectify his own feeling in the consciousness, and the act of expression means ordinarily to represent the concrete situation in which he has once experienced the some concrete feeling. But to us spectator, we cannot judge that the feeling, which the work of art is expressing, is really the experienced feeling or imagined feeling, or unexpected feeling, then, from the observer's point of view, self-expression becomes an problem irrelevant to a matter.

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Entre la recherche de la beaute et l'interpretation du temps, il y a une correlation profonde. Car, a mon avis, la beaute, d'une part, ne peut avoir sa realite authentique qu'en un instant discontinu, et d'autre part, le temps n'a qu'une realite, celle de l'instant. Nous avons critique les doctrines sur le temps de Kant, Hegel et Bergson qui ont pris le temps, en un sens, comme une sorte de l'espace, et nous avons appuye notre opinion par les citations des oeuvres de Gaston Bachelard et Gisele Brelet qui ont insiste sur la discontinuite absolue du temps et suggere une esthetique de l'instant.

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Wie wirkt das Bodenstandige in der Kunst? Ist es fordernd, zuruckhaltend oder ursprunglich? Daruber lehrt uns die Geschichte des Menschen so viel. Einerseits das Bodenstandige unkritisch zu bejahen, anderseits dasselbe ganz ausser acht zu lassen, lehrt uns die Geschichte auch, machen beide auf jeden Fall das Kunstwerk vorlaufig und provinzial. Um diese Fragen richtig zu forschen, muss man zuerst erklaren, was das Bodenstandige ist. Zuerst ist das Bodenstandige raumlich und provinziell. Es ist auch als menschlicher Raum notwendig geschichtlich. Darum ist es einerseits der Boden und der Material fur die Schopfung des Kunstlers, anderseits ist eine dicke Wand, die von dem Kunstler gereinigt und aufgehoben werden muss. In diesem Sinne hat es den mit dem Traditionellen gemeinsamen Charakter. Aber dieses hangt mit dem Wertvollen und Allgemeinen zusammen, dagegen jenes mit dem Wertlosen und Speziellen. Wahrend das Traditionelle als ein konkretes Kunstwerk ein Musterhafte hat, spurt man in dem Wort "Bodenstandigen" die Uberlieferung und die Gewohnheit, die noch zum Werk gestaltet sind. Die Zusammenhange des Buddhismus mit dem bodenstandigen Glauben in Japan, des Christentums mit germanischen bodenstandigen Glauben sind bisher gewohnlich als folgendes gedacht worden : jenes reinigt und hebt dieses auf. Aber das Bodenstandige ist kein Gegenstand, der vom Aussen vernichtet werden muss, vielmehr wirkt das Fremde nur schopferisch, solange das ins selbst uberwindenden Element des Bodenstandigen aufgenommen und aufgelost werden?

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How is nature represented in Indian art? An answer to this question is approachable, if we first make a typological classification of Indian art, according to (A) landscape, (B) animals, (C) human figures, and then make a study of specific examples from each category. (A) We cannot generally find any true landscape depiction in Indian art except in miniature paintings dating from the 16th and 17th centuries onward, at which time Indian art was influenced by contemporary European paintings. It is thought that landscape had not been an important theme earlier because nature was not conceived as a place with spatial qualities. Rather, nature was viewed as so many independent objects, each of which had its own significance in terms of energy and form : the artistic world of early Indian art was the sum of many parts, each alive and unique. So even in those cases where landscape motifs appear in the backgrounds of each paintings, they function as independent clues which help us understand natural phenomena but do not describe a natural setting in a photographic way. (B) Indian artists have always had a special interest in animals, regarding them either as the symbols of the Gods in the Brahmanistic pantheon or as beings in a series of Metempsychosis, Samsara, from the Buddhistic point of view. One finds a consistent reverence for animals in early Indian art. They are represented not as pray in a hunting scene but as objects of affection, often personified as though they were living human beings. (C) In the representation of human beings the stress is on sensual beauty. A predilection for nude and semi-nude figures can be said to be a unique Indian trait in contrast to a preference for clothed figures seen in Persian and Chinese art. This can be explained in terms of Brahmanistic thought, which regards human bodies as energetic sources of procreation and life. It is for this reason that the female body is represented with large breasts and hips. Indian Buddhistic images, too, are decidedly sensual reflecting influence from Brahmanism. Generally speaking, one comes to the conclusion that the expression of nature Indian art lies in universals, i.e., that the religious or spiritual idea of nature came before any representation of the phenomenal shape of natural objects, and conversely, then, that the visual world was not something that Indian artists were obliged to "repeat", as it were. In other words, early Indian artists were bound inextricably to the religious idea, and were limited or forced to symbolize it.

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As a result of technological progress, video pictures have developed from monochrome to color. Thus, unique color techniques have opened new vistas in the art of producing images. The motion picture theory concerning color images, however, it still confined to the special, limited genre, reflecting the days when video pictures were predominantly black and white. In recent years, however, considerable progress has been made of coloration techniques in television and various other image media. Color images have penetrated so deeply into our daily life that the present period could well be described as the "color age." In these circumstances, it is of no small significance that efforts are being made to shed new light on the problem of color and image. In the production of monochrome images, its artistic value is found in the process of reducing natural colors to a gray-scale ranging from white to black. In other words, a sort of "abstraction" is made in such process. Unlike the the monochrome image, the color image has psychological and physiological problems regarding vision and perception unique to color. There can be no mere reproduction of natural color when it is made into images. Technological progress has improved coloration in various image media, including television. In order to develop the artistic character of color images, it is imperative to make wide use of the achievements in natural sciences, and to study these images from the standpoint of technical mechanism. A new theory of color images will be produced from such efforts.

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The modern study of Aristotle's Poetics is often dated from latter half of the fifteenth century. But Poetics is an extraordinary difficult piece of writing, so there are many problems. In classical philology, for exemple, the history of original text, the meaning of major terms, and the distinction between the basic text and later interpolations, are discussed now. From the point of view of literary technique, Lessing praised this treatise as infallible as the Elements of Euclid and Grotius called Aristotle optimus magister. But Dilthey doubted it and said that the method of Poetics is so empirical, analytic, and inductive that it is not enough to principle of aesthetics. Wilamowitz-Moellendorff also criticized that interpretation of Greek dramas in Poetics is not historical, but ideal. But I think that the history of European theory of literature is the history of confrontation of Aristotelism with anti-Aristotelism. Even today, B. Brecht and other avant-garde artists assert non-Aristotelism and object to his theory of catharsis, organic unity and poetic justice. We must now take their opinions as a stimulant and consider the adaptation of Poetics to our times.

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Thomas von Aquin berichtet daruber, dass "unde ipsum esse est actualitas omnium rerum, et etiam ipsarum formarum (S.T.I.Q.4.a.1.ad.3.)" oder "ergo dicendum quod esse per se consequitur forman creaturae, ... (S.T.I.Q.104.a.1.ad.1.)." Wir nehmen die Form (des Schonen), die jedes Ding wesenhaftlich als schon bestimmt, durch den eindeutigen Zusammenhang zwischen dem Da-sein und der Form an. Nun halt Thomas das Schone fur den Logos des Seienden. Die drei Bedingungen des Schonen sind bei ihm namlich : perfectio, proportio und claritas. Er vergleicht die Fahigkeit (proprietas), die der Zweite "Filius" in der Dreieinigkeit hat, mit der Schonheit (S.T.I.Q.39.a.8.). Das Schone muss die Vollendung, die Ubereinstimmung und die Klarheit von Etwas d.h. dem Seienden sein. Diese drei Bedingungen des Schonen sind notwenidige Bedingungen des Schonen und bedeuten das Schone uberhaupt. Besonderes heisst das Schone der Logos des Seienden, insofern es das Immaterielle darstellen kann. Deshalb konnen wir den Satz, "quia importatur in verbo (der Logos des Gottes) ratio factiva (der schopferische Grund) eorum quae Deus facti (S.T.I.Q.34.a.3.)", "ratio factiva" mit anderem Ausdruck "ratio pulchra" (der Grund der Schonheit) sagen. Dann ergibt sich daraus "quia importatur in verbo (der Logos des Seienden) ratio pulchra eorum quae Deus facti." Auch die "ratio pulchra, " uber die Thomas spricht, ist nichts anderes als die Form des Schonen.

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In Tractatus 6.421, you find the concept of 'Asthetik (aesthetics)', although it is used only by the way : "It is clear that ethics cannot be put into words./Ethics is transcendental./(Ethics and aesthetics are one and the same.)" As far as we focus our attention on the concept of 'aesthetics', it will be our task to interpret the following propositions : Aesthetics cannot be put into words. (6.421A-1)/Aesthetics is transcendental. (6.421A-2). (I) 'Aesthetics' in Tr. means not a body of aesthetic doctrine, but an aesthetic activity. (II) You will be able to understand 6.421A-2, if you see what 'the world' means in Tr. : 'The world' is 'a limited whole'. Here, you will notice a distinction between 'in the world' and 'outside the world' : 6.421A-2 means that an aesthetic activity is outside the limit of 'the world' which Tr. signifies. (III) You will be able to understand 6.421A-1, if you see what 'language' means in Tr. : 'Language' is 'a limited whole' of 'pictures' which depict 'the reality' or 'the world'. Here, you will notice a distinction between 'in the language' and 'outside the language' : 6.421A-1 means that an aesthetic activity is outside the limit of 'the language' which Tr. signifies. You see here an entirely abstract argument. Next, we should ask what it means concretely. The materials, however, cannot be found inside Tractatus.

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The Besson Zakki (in 57 volumes), one of the Buddhist iconographical publications, was compiled by Priest Shinkaku (1117-1180) in the latter part of Heian Era. As known well, Shinkaku quoted the writings of the four priests preceding him and arranged them in a regular sequence in the Besson Zakki. The whole set-up of this book appears to be in an excellent shape, revealing the author's aim and plan laid in the book. On perusing the book, however, we find some points still ambiguous. An attempt has been made here to make clear how far Shinkaku extended his authority in compiling this book by reconsidering the situations under which the Besson Zakki were brought into existence.

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The picture is characterized by realistic technique, expressing the solidity and massiveness of the object. Its description is based on the careful construction of corresponding parts, is expressive of emotional space by the use of gold paint and ground, and even adds ornamental nature by the application of gold dust. I noticed, therefore, that this work is supported by two motives-realism and ornamentalism-and from this point of view I tried a chronological study of the artist's work. His works employed in this comparative study are : "A pinetree in snow" (2nd year of Meiwa, 1765), "Birds on the rock" (4th year of Meiwa, 1767), "Birds and flowers of the autumn and winter" (2nd year of Anei, 1773), and "Wisterias" (5th year of Anei, 1776). As a result I came to the conclusion that the main theme of "Snow-covered pinetree"-coexistence of the two motives-was achieved in "Wisterias" through rhythmic treatment, and that the former was completed between the 2nd year and the 5th year of Anei. This is the period when Okyo was in his early forties and it coincides with his social uplift and a turning point in his life. Therefore, the problems inherent in the style of Okyo are, in my view, typically shown in the process of the two pieces of work. Here are some remarks on the realism of Okyo, especially how his ornamental motive holds on.

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