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Article type: Cover
1971 Volume 22 Issue 3 Pages
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Published: December 30, 1971
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Article type: Cover
1971 Volume 22 Issue 3 Pages
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Published: December 30, 1971
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Tomonobu A. Imamichi
Article type: Article
1971 Volume 22 Issue 3 Pages
1-19
Published: December 30, 1971
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1) Sans evocation une oeuvre d'art n'acquerit pas l'existence integrale. L'interpretation, l'execution musicale est justement l'evocation d'une oeuvre d'art. Il s'agit premierement de la reflexion philosophique sur l'execution musicale afin de penser au temps musical. L'auteur va au contraire de G. Brelet et M. Watanabe qui supposent, chacun a sa maniere, l'irrationalite du temps musical. 2) L'execution musicale est une sorte d'abstraction reele, parce qu'elle extrait une possibilite de l'oeuvre musicale au niveau de la sonorite. Mais qu'est-ce que le regulateur ou criterium de cette abstraction "chronos"? Ce n'est pas logique, pas des notes de musique, pas de gout des gens, mais c'est une musique imperceptible qui existe au monde eonique, parce que nous comparaisons l'execution "chronique" toujours perceptible avec la sonorite imperceptible ideele. 3) La possibilite de la melodie est aussi appuyee par la musique imperceptible eonique, parce que un Nachklang et un Vorklang, qui sont imperceptibles, sont necessaires pour perception d'une melodie. L'instant du son se divise en deux parts, l'une est "ad-me" et l'autre "ex-me". L'ad-me se symbolise en Nachklang et l'ex-me en Vorklang. L'accumulation de ces deux orientations opposees dans un meme instant fait un "chairos" au dela du niveau "chronique." Cette structure du chronos est le fondement de la possibilite du rythme. 4) L'execution musicale "chronique" a une "protention" au niveau eonique.
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Article type: Appendix
1971 Volume 22 Issue 3 Pages
34-35
Published: December 30, 1971
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Tamio Kaneda
Article type: Article
1971 Volume 22 Issue 3 Pages
36-
Published: December 30, 1971
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Wir begreifen das Klima als die Natur in der Menschheit. Im Hintergrund des Geistigen haben wir immer das Klimatische. Das Klimatische wirkt in unserem Menschsein, also auch in der Kunst. Aber das Klima ist im Grunde die Natur, und so lasst es im Verkehr mit dem Menschen zuerst ein Naturgefuhl entstehen. Das Naturgefuhl erscheint als Klimatisches im menschlichen Subjekt. Ursprunglich entsteht das Naturgefuhl zwischen dem Klima (als Natur) und dem Menschen. So grundet es auch unser Lebensgefuhl, das dann wiederum in verschiedenen Charakteren der Volker oder Nationen erscheint. In diesem Sinne konnen wir das Klimatische als verschiedene Typen in den geographischen Gebieten begreifen. Das Klimatische steht, von Natur auf Geist hingerichtet, zwischen der Natur und dem Geist. Nun mussen wir nach dem Sinn des Klimas als Natur in unserem Naturgefuhl fragen. Und hier wissen wir, dass das Klimatische, das seiner Natur nach auf das Geistige hingerichtet ist, sich in den stufenartigen, vielfaltigen Phasen unserer Seelenstruktur verwirklicht. So sollten wir das Klima nicht im Gegensatz zum Menschen begreifen, sondern vielmehr von dem Naturgefuhl (im weiteren Sinne) her, das in unserer Kunsttatigkeit wirkt und in Erscheinung tritt.
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Kiyoshi Imai
Article type: Article
1971 Volume 22 Issue 3 Pages
39-
Published: December 30, 1971
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Images in the works of art, especially in the plastic arts, are originally single in their creative process. The combinations of the isolated images appear in the next place. The isolated images correspond to "things" as the "objects", and the "matters" as the "subjects" are attained by the combinations of the images. The word "object" means "mot" or "langue", and the word "subject" signifies "langage" or "parler". In short, to combine the images is equivalent to the creative power of imagination. As an example to clarify Japanese aesthetic consciousness through the various phases of combinations of images, the problems of "ambiguities", "doubleimages" as the concentric circles and "allegory", I studied in this paper the "Haiku", the shortest of all Japanese poems.
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Toshiro Itakura
Article type: Article
1971 Volume 22 Issue 3 Pages
41-
Published: December 30, 1971
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In Manyo we find many actions related with costumes. For example, "sode fulu" (to wave one's sleeve) shows not only the action but expresses also the feeling of love. I think "Yosohoi" means the way to express feelings by costumes. "Yosohoi" is not an art expression that changes the existence of its own creator, but it is an expression that rather changes the mode of its wearer. Only with this kind of interpretation we can understand the beauty in costumes.
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Keisho Morikawa
Article type: Article
1971 Volume 22 Issue 3 Pages
42-
Published: December 30, 1971
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Ce rapport vise a eclairer le caractere esthetique de la ceremonie du the pendant les 15^e et 16^e siecles. En ces temps-la, les grands experts en ceremonie du the (Shuko, Joo, Rikyu et d'autres) ont etabli l'idee du 'Wabi', la beaute japonaise, par leur theorie et pratique. 'Wabi' a signifie originellement quelque chose d'imparfait, d'incomplet et d'insuffisant. Mais les grands artistes en ceremonie du the ont trouve la beaute plutot dans l'imperfection et l'insuffisance du 'Wabi' que dans la perfection et la suffisance, et ils ont essaye de la montrer activement a travers de leur pratique. Par leurs efforts, 'Wabi' est devenu un type original et unique de la beaute japonaise.
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Yuji Yoshida
Article type: Article
1971 Volume 22 Issue 3 Pages
44-
Published: December 30, 1971
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According to Moriatsu Hayashi, in his writing 'Gasen' (1712), "Although Motonobu Kano used 'Solar-Lunar' motif in screens, it is now forbidden to use them in our school." He says nothing else. Why this motif had to be forbidden? Historians suppose some purposes of this motif-religeous, lyrical, or decorative. But from these points of vue, we could not grasp the ground of this prohibition. Therefore I tried to look for another reason. It is true that this motif appears in some paintings used for special ceremonies at the Imperial Court. Shimenoyama (artificial products) at Daijoe is the typical case. The 'Solar-Lunar' motif was then painted on each Shimenoyama product, and furthermore these products were designed by painters of the art bureau at the Court. This fact explains that the 'Solar-Lunar' motif is the limited as one signifying regality itself. For this reason, we can understand the oral tradition of M. Hayashi, and that this 'Solar-Lunar' motif is not a decorative but emblematic one.
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Minoru Saito
Article type: Article
1971 Volume 22 Issue 3 Pages
47-
Published: December 30, 1971
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In der Ausschmuckung der liturgischen Handschriften hatten sich seit langer Zeit ganz bestimmte Zuge herausgebildet. Wir finden aber in ottonischer Zeit hochste Steigerungen der kunstlerischen Gestaltung. Dabei handelt es sich nicht nur um die Veranschaulichung der Glaubensinhalte durch einen illustrierenden Bilderkreis des Neuen Testamentes. Auch der ornamentale Schmuck allein kann in besonderem Masse erhohend und auszeichnend wirken, so wie in den Zierseiten das Schriftbild und Initiale oft von kunstlerisch nicht geringer Bedeutung als die figurlichen Darstellungen, die als Vermittler bestimmter evangelischer Inhalte zu betrachten sind. Die asthetischen Neigungen und Ansichten zu diesen Gestaltungen in den Skriptorien beruhmter Klosterschulen haben alle einen gemeisamen theologischen Ursprung, der sich im Denken des Pseudo-Dionysius und dessen Ubersetzers und Interpreten Johannes Scotus nachweisen lasst. Die Auffassung von Christus als Herrn und Richter, die Schrecklichkeit Gottes, der Schrecken der Holle-alles Grundelemente der cluniazensischen Mystik-lehren sich an die Darstellung an, die der Pseudo-Dionysius von der Schonheit der Damonen gibt. Daraus folgt, dass neue Bildthemen wie die Apokalypse und das Jungste Gericht auf der Reichenau ihre fruheste bildliche Form gefunden haben.
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Tadashi Shishido
Article type: Article
1971 Volume 22 Issue 3 Pages
48-
Published: December 30, 1971
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Ghiberti's reliefs have a quality to narrate the subjects. The author assumes this quality is the same meaning as his words "molto copiosa" in the Commentary. In his 2nd door, to narrate the story he adopted the large pictorial space and the alloted scenes in layers is given the continuity by a movement from left to right or in a zigzag way. This movement stops at the last panel. (La composizione spaziale dei bassorilievi della terza porta. The very brief summary in Rivista di estetica 1962 II) In this door, to narrate the story he used a method which consists of a movement or a grouping from left to right and turning upwards or circulating inside the panels as two schemes at page 48. "Resurrezione di Lazzaro" narrates John 11, 21-44. Therefore two sisters have the double expressions. "Flagellazione" repeats. Ghiberti's principle to make this door, the author assumes, is to narrate by a method which leads our eyes along a spiral line. This line moves in a circle in one panel and develops to the upwards in sequence of the story. This movement leaps over the quatrefoil frames, continues throughout the 20 panels.
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Kiyoo Koyama
Article type: Article
1971 Volume 22 Issue 3 Pages
49-
Published: December 30, 1971
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In Piero della Francesa's description, "De prospectiva pingendi", he says that in painting there are three elements : measurement, drawing and colouring. It is perspective that he means by measurement. He seems to be seeking foreshortening figures by the "Three-plane method", and also to be using the main vanishing point to which 90° lines converge. He treats further a problem on the visual field saying that the visual angle must not be over 90°. In his several works, the main vanishing point is situated on the vertical centre line of the picture plane which is divided into two contrasting spaces, a convex and a concave one. Such a contrasting composition frees these paintings from compositional monotony. The height of eyesight is short, but the distance of eyesight is rather long. Owing to the lowness of the point of sight, we can see there suitable settings for Piero's imposing figures, and the long distance of eyesight, which makes a wide visual field, represses the third dimension. It seems to me that these Piero's perspective compositions give monumental effects to his paintings.
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Giichi Nakamura
Article type: Article
1971 Volume 22 Issue 3 Pages
52-
Published: December 30, 1971
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A brief generation ago, Pre-Raphaelite painting was scorned as sentimental and dismissed as a silly dream. In recent years, it has fallen into contemptuous neglect, and, in this country too, almost into oblivion. Today it may be returning to fashion. Why should it be making a comeback? What is Pre-Raphaelitism? How far does it the realistic reaction in France? Why were the results so different? To anyone taking an interest in the thesis many questions will suggest themselves. Neverthless, there must be something in the art of the Pre-Raphaelites, which will show such a fast reevaluation of Pre-Raphaelitism that works they produced will be revealed as a central and highly important facet of European painting of the nineteenth century and possibly as far reaching in their effects as the most remarkable movements in the art of the Continent in the last quarter of the century. It is with a deliberate intention that I treat upon the four phases of the movement : impressionistic, realistic, romantic and symbolistic phases. Pre-Raphaelitism formed only element in European painting ; it was, however, a most important and complex elements, and its influence on Japanese modern painting has been enormous.
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Teruo Fujieda
Article type: Article
1971 Volume 22 Issue 3 Pages
54-
Published: December 30, 1971
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One of the particularities of modern art is the trend that art exists not as art per se but as art about art. One example of this is "Urinal". which is comprehensible even if not seen. The recent trend, however, demands that the work which is made by the artist himself has to be seen and to be conceptualized later. The trend appears to have had its derivation in the virtual desintegration of space intrinsic to positive expression. Not having any purpose, it might be called "objective contradiction." The work finds its expression in space as a portion rather than a unified entity.
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M. Kawakami
Article type: Article
1971 Volume 22 Issue 3 Pages
55-60
Published: December 30, 1971
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T. Ishikawa
Article type: Article
1971 Volume 22 Issue 3 Pages
61-64
Published: December 30, 1971
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K. Fujita
Article type: Article
1971 Volume 22 Issue 3 Pages
68-70
Published: December 30, 1971
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I. Toshimitsu
Article type: Article
1971 Volume 22 Issue 3 Pages
71-72
Published: December 30, 1971
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Article type: Appendix
1971 Volume 22 Issue 3 Pages
73-
Published: December 30, 1971
Released on J-STAGE: May 22, 2017
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Article type: Appendix
1971 Volume 22 Issue 3 Pages
73-
Published: December 30, 1971
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Article type: Appendix
1971 Volume 22 Issue 3 Pages
73-
Published: December 30, 1971
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Article type: Bibliography
1971 Volume 22 Issue 3 Pages
74-
Published: December 30, 1971
Released on J-STAGE: May 22, 2017
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Article type: Bibliography
1971 Volume 22 Issue 3 Pages
74-
Published: December 30, 1971
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Article type: Bibliography
1971 Volume 22 Issue 3 Pages
75-
Published: December 30, 1971
Released on J-STAGE: May 22, 2017
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Article type: Bibliography
1971 Volume 22 Issue 3 Pages
76-
Published: December 30, 1971
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Article type: Bibliography
1971 Volume 22 Issue 3 Pages
77-
Published: December 30, 1971
Released on J-STAGE: May 22, 2017
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Article type: Cover
1971 Volume 22 Issue 3 Pages
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Published: December 30, 1971
Released on J-STAGE: May 22, 2017
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Article type: Cover
1971 Volume 22 Issue 3 Pages
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Published: December 30, 1971
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