Aesthetics

Aesthetics

Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962

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Volume 24, Issue 1

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[title in Japanese]

Article type: Cover
1973 Volume 24 Issue 1 Pages Cover1-
Published: June 30, 1973
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.24.1_Cover1

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[title in Japanese]

Article type: Cover
1973 Volume 24 Issue 1 Pages Cover2-
Published: June 30, 1973
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.24.1_Cover2

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[title in Japanese]

Article type: Appendix
1973 Volume 24 Issue 1 Pages App1-
Published: June 30, 1973
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.24.1_App1

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Finito and Non-Finito in the Art of Shigeru Aoki

Giichi NAKAMURA

Article type: Article
1973 Volume 24 Issue 1 Pages 16-29
Published: June 30, 1973
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.24.1_16

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Shigeru Aoki is most often taken as the unfortunate and unfinished genius par excellence in modern Japanese art history. The range of criticism on his art is generally governed by the nature of this unfinishedness. Very little has directly been written on finito and non-finito in his pictures, although he is discussed in most works dealing with individual artists and in the various histories of modern Japanese painting. The salient characteristic of Aoki's art is uncompleteness, but this is not to suggest that his short life offers any clarification of non-finito in his pictures. To anyone regarding the subject, many questions will appear. In the first place, how far was "Gifts of Sea", Aoki's best known and most romantic work, completed? What caused the final uncomplete conditions after all? How far has "Palace under the Sea" been finished off in fact? How far have the contemporaries penetrated to the essential quality of these paintings they seemed to admire? His art seems to capture in his naive romanticism, in his sensitive symbolism and in his ruined mind the essence of subjectivism in modern art.

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Die Malerei der deutschen Romantik

Chigusa FUJINAWA

Article type: Article
1973 Volume 24 Issue 1 Pages 39-50
Published: June 30, 1973
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.24.1_39

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Ich finde in der deutschen romantischen Malerei zwei Richtungen. Eine war die Runges und Friedrichs, Eine war die der Nazarener. Um den Menschen, der nicht mehr nach Arkadien zuruck kann, auch Elysium zu fuhren wie Schiller sagte, versuchte Runge mit dem Blick auf das Hochstmogliche, die Einheit von Natur und Kreatur zu veranschaulichen, Friedrich, die Natur selbst als Gottes Sprache zu malen. Die Nazarener dachten, dass nur der christliche Geist wahrhaft reine Kunst hervorbringen konne, wie F. Schlegel sagte, und arbeiteten in Ruckbesinnung auf die fruhe italienische und deutsche im Kloster St. Isidoro in Rom. So trug die deutsche Romantik auch im Gebiet der Malerei geistige Fruchte ; dies kann man beispielsweise bei den Linien und Farben feststellen. Die deutsche Romantik war nicht so realistisch wie die franzosische, sondern idealistisch. Sie fand dann die ihr eigene fantastische Schonheit als Gegensatz zu der klaren griechischen Schonheit.

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[title in Japanese]

A. Yonezawa

Article type: Article
1973 Volume 24 Issue 1 Pages 51-55
Published: June 30, 1973
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.24.1_51

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[title in Japanese]

Y. Hosoi

Article type: Article
1973 Volume 24 Issue 1 Pages 55-59
Published: June 30, 1973
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.24.1_55

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[title in Japanese]

Article type: Appendix
1973 Volume 24 Issue 1 Pages 60-71
Published: June 30, 1973
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.24.1_60

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[title in Japanese]

Y. Hosoi

Article type: Article
1973 Volume 24 Issue 1 Pages 72-
Published: June 30, 1973
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.24.1_72

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[title in Japanese]

T. Imamichi

Article type: Article
1973 Volume 24 Issue 1 Pages 73-
Published: June 30, 1973
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.24.1_73

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[title in Japanese]

Y. Hosoi

Article type: Article
1973 Volume 24 Issue 1 Pages 74-75
Published: June 30, 1973
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.24.1_74

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[title in Japanese]

[in Japanese]

Article type: Article
1973 Volume 24 Issue 1 Pages 76-
Published: June 30, 1973
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.24.1_76

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[title in Japanese]

K. Miyoshi

Article type: Article
1973 Volume 24 Issue 1 Pages 78-
Published: June 30, 1973
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.24.1_78

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[title in Japanese]

Article type: Appendix
1973 Volume 24 Issue 1 Pages 79-
Published: June 30, 1973
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.24.1_79_1

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[title in Japanese]

Article type: Appendix
1973 Volume 24 Issue 1 Pages 79-
Published: June 30, 1973
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.24.1_79_2

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[title in Japanese]

Article type: Appendix
1973 Volume 24 Issue 1 Pages 79-
Published: June 30, 1973
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.24.1_79_3

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[title in Japanese]

Article type: Appendix
1973 Volume 24 Issue 1 Pages 79-
Published: June 30, 1973
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.24.1_79_4

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[title in Japanese]

Article type: Bibliography
1973 Volume 24 Issue 1 Pages 80-
Published: June 30, 1973
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.24.1_80_1

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[title in Japanese]

Article type: Bibliography
1973 Volume 24 Issue 1 Pages 80-
Published: June 30, 1973
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.24.1_80_2

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[title in Japanese]

Article type: Cover
1973 Volume 24 Issue 1 Pages Cover3-
Published: June 30, 1973
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.24.1_Cover3

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