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Article type: Cover
1977 Volume 28 Issue 3 Pages
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Published: December 30, 1977
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Article type: Cover
1977 Volume 28 Issue 3 Pages
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Published: December 30, 1977
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Seiki HABU
Article type: Article
1977 Volume 28 Issue 3 Pages
1-13
Published: December 30, 1977
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In recent years, some English authors brought forward a new concept, the Aesthetic Movement. This movement gave a new interesting angle on the problems of art and society in England of the eighteen-seventies and -eighties. In this brief essay, we try to interpret this movement as an early stage in the development of the Modern Design referring to books as follows : James Laver, Victoriana, London and Melbourne, 1966. Elizabeth Aslin, The Aesthetic Movement, Prelude to Art Nouveau, London, 1969. Robin Spencer, The Aesthetic Movement, London, 1972.
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Toshio TANAKA
Article type: Article
1977 Volume 28 Issue 3 Pages
14-23
Published: December 30, 1977
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This work, colored on gilded paper (in Hakutsuru Fine Art Museum), has been attributed to Eitoku KANO (1543-90). But really it has not the style of Eitoku, and follows closely that of Motonobu (1474-1559). Besides, being compared with other works in Momoyama Period, it takes their style. According to the inscription with India ink on its lining, it was donated to the Kofukuji-temple by Junkei TSUTSUI at the 9th year of Tensho Era (1581). Thus it must be made on this year and I also think that it should be attributed to Shoei KANO, after the examination of his works in Jukoin-temple and his other ones.
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Setsuko IGARASHI
Article type: Article
1977 Volume 28 Issue 3 Pages
24-38
Published: December 30, 1977
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Auf der Empore der Aachener Pfalzkapelle sind acht Bronzengitter eingesetzt. Sie spielen eine grosse Rolle als Bestandteile des Innenraums und fur die Verehrung des Karls des Grossen. Man unterscheidet sie in zwei Gruppen. Die eine hat die Neigung zum eigentlichen germanischen Geschmack und die andere zum mittellandischen antiken. Diese Unterschied entspricht der stilistischen Entwicklung, die in der Hofkunst Karls des Grossen, vor allem in der Buchmalerei, erkannt werden kann. Das Bronzengitter besteht aus Rahmen und Bildflache. Diese ist wichtiger als jener vom Standpunkt der ornamentalen Funktion des Gitters aus. In der Werkstatt des Hofs wurden die antiken Numerus-Theorien gekannt und durften bei der Herstellung der Gitter voll angewendet werden. So wird hier in der Musterkomposition der Bildflache eine Numerus-Ordnung gesucht, die aller Bildflachen gemein ist.
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Article type: Appendix
1977 Volume 28 Issue 3 Pages
49-
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Article type: Appendix
1977 Volume 28 Issue 3 Pages
50-51
Published: December 30, 1977
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Kenjiro YOSHIOKA
Article type: Article
1977 Volume 28 Issue 3 Pages
52-
Published: December 30, 1977
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Kunst und Geschichte bestehen nur in bezug auf den Menschen. Insofern wir all das, was man gemacht hat, als geschichtliches Ereignis betrachten, mussen wir Kunstwerk auch als solches behandeln. Das Kunstwerk hat seinen geschichtlichen Charakter, d. h. es ist einem bestimmten Zeitpunkt des geschichtlichen Ablaufes zuzuordnen. Aber das echte Kunstwerk kann grundsatzlich seine ubergeschichtliche Wert und Bedeutung nicht verlieren. Durch seine rein menschliche Allgemeingultigkeit hat es Ewigkeitswert. Es entzieht sich jeder rationalen Festlegung, da es immer mehr als der blosse fassbare Inhalt ist. Die geschichtliche Betrachtung kommt dem Durchschnittliches zugute, den wahrhaft Bedeutenden lasst sie aber zu kurz kommen. Schone Kunst ist, sagt Kant in seiner Kritik der Urteilskraft, Kunst des Genies. Das Genie lebt aber nicht fur seine Zeit, noch auch fur sein Volk, sondern fur die ganze Welt. Die Geschichte der durchschnittlichen Kunstwerke ist kontinuierlich, aber die des Genies diskontinuierlich. Jedes Werk, welches das Licht des Genies nicht hat, dient nur dem Bedurfnis des Tages und verlischt im Laufe der Zeit.
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Kosaku TOGUCHI
Article type: Article
1977 Volume 28 Issue 3 Pages
55-
Published: December 30, 1977
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In questo studio ho presentato una interpretazione delle relazioni intercorrenti tra "Sumer is icumen in", la collatio o le cacie sive incalci, descritte in due trattati italiani, le chaces e le cacce, tramite l'esame stilistico di questi generi poetico-musicali. Sembra che tra gli studiosi prevalga l'opinione che la linea direttiva dello sviluppo dei generi analoghi tra loro sia stata dal semplice verso il complicato, in quanto fu adoperata la tecnica di canone ; e in questo studio ho sottolineato che l'accumulazione delle voci partecipanti all'imitazione, quindi il numero elevato delle voci della rota inglese e delle cacie dei trattati, sarebbe stato un risultato spontaneo, per cosi dire "popolare", per le musiche canoniche con struttura armonica semplice e che queste musiche-benche la rota inglese sia un esempio tutto particolare avendo due voci di sostegno (fra l'altro anche questo fenomeno non e inspiegabile)-avrebbero rappresentato una pratica musicale piuttosto arcaica nell'ultimo quarto del Duecento e nel primo quarto del Trecento o probabilmente anche in un periodo di tempo piu ampio. D'altro canto le chaces francesi, molto piu che le cacce italiane, sembrano corrispondere, sia dal punto di vista poetico che musicale, alle descrizioni delle musiche canoniche dei trattati italiani e ritengo che "Talent m'est pris" abbia rappresentato un anello di congiunzione tra la sopraccitata pratica arcaica e le chaces piu sviluppate. L'origine delle cacce arsnovistiche italiane composte di regola di due sole voci d'imitazione e di una sola voce di sostegno, sarebbe stata, insieme alla volonta di descrivere realisticamente un aspetto movimentato della vita umana, una stessa linea estetica che contribuiva a far cristallizzare lo stile arsnovistico dei madrigali, cioe la ricerca di suavitas.
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Atsushi TANIGAWA
Article type: Article
1977 Volume 28 Issue 3 Pages
56-
Published: December 30, 1977
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E. Souriau est philosophe avant d'etre estheticien et c'est le probleme de la connaissance qui l'a amene a mediter sur l'art et non inversement. Dans la premiere oeuvre "Pensee vivante et perfection formelle", qui date de 1925 et constitue l'un des premiers documents de la reaction contre le bergsonisme, Souriau cherchant a rehabiliter le rationnel comme instrument d'une connaissance de l'ontique, demande au sentiment esthetique d'une perfection formelle de justifier la realite objective de cette connaissance. Mais cette perfection n'est pas une donnee toute faite en dehors de l'esprit, et pour ainsi dire passive et statique. Il prefere placer la perfection dans la creation ou l'<<instauration>>. De ce point de vue, le seul et le meilleur moyen de saisir l'etre sur le vif, c'est de le creer soi-meme sous le signe de la perfection. Voila pourquoi l'activite instauratrice de l'artiste est le type de la revelation metaphysique des realites absolues, et pourquoi c'est bien l'esthetique qui est le modele d'un accomplissement de l'ideation en connaissance ontologique. Mais le concept de forme a une extension universelle et ainsi il encourt un inconvenient de ne pas identifier le caractere particulier de l'art. Souriau soutient en effet le postulat d'une assimilation des philosophies et des oeuvres d'art par la notion d'oeuvre : elles sont porteurs de verite, intrinseque ou mieux transcedentale. La pensee sourialienne est ici tres proche de la pensee bergsonienne, qui prefere la forma formans plutot que la forma formata.
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Yoshiharu IGARASHI
Article type: Article
1977 Volume 28 Issue 3 Pages
57-
Published: December 30, 1977
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A l'origine, la mimesis devait designer une danse cathartique. Ce sens originel se reflete dans certains passages chez Platon et Aristote. Le sens de la mimesis en Grece classique et hellenistique comporte l'imitation, la representation et l'expression. Il s'etend de la copie exterieure jusqu'a l'image analogue au paradigme ideal. Sa primaute sur d'autres mots similaires a elle pour caracteriser l'art d'entre les techniques s'expliquera par trois raisons ; 1° le mot mimesis, mieux que les autres de cette sorte, faisait representer une scene d'actions humaines a les Grecs. 2° ce mot convenait le mieux a un concept unitaire des arts a cause de sa polysemie ou de son ambiguite. 3° la langue grecque n'avait pas de mot qui correspondait au latin exprimere pour signifier l'exteriorisation d'un interieur psychique. L'evolution de la mimesis est parallele a celle du drama qui est tire de la dromenon. On y remarque qu'une conscience de la fiction et de la contemplation s'accroit. Mais, avec cette subjectification, les recherches de l'objectif, du reel et de l'essentiel avancent egalement dans la mimesis. Ainsi s'exerce le developpement de l'art. La mimesis est une haute faculte humaine qui se rattache au progres de l'humanite.
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Kiyoshi ASAOKA
Article type: Article
1977 Volume 28 Issue 3 Pages
58-
Published: December 30, 1977
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Bei Schiller sollte seine bloss terminologische Entlehnung der Grundsatze Kants fur sein eigenes Denken, neben seiner anscheinend grundlichen Abhangigkeit von Kants Begriffen, auch nicht ubersehen werden. Als geborener Buhnendichter denkt und dichtet Schiller in der Form des Dramas ; auf Grund seines "unmittelbaren Eindrucks" und in der Welt bleibend, die die Handlungen des Menschen sich miteinander beziehen und mit verschiedenen Umgebungen verschlingen lasst (Nohl). "Anmut und Wurde" kann man also fur Ausdrucke der Menschlichkeit halten. Die Buhne als Spielraum der reinen Erkenntnis lasst die Einbildungskraft ungebunden lebendig sein und die Idee den Stoff regulieren und einrichten. "Die poetische Wahrheit" besteht in der innerlichen Moglichkeit der Sache, wahrend "die historische Wahrheit" in der Wirklichkeit. Der Unterschied zwischen ihm und Kant im Bereich des begrifflichen Denkens kommt auch von seiner Denkungsform des Dramas her. Seine "Einbildungskraft" vollendet den Begriff der Menschlichkeit und entfaltet Kants Asthetik erganzend, die die tiefe Erregung im kunstlerischen Erlebnis nicht genug abschatzen kann. Schillers Gedanken sind sich uber den aufklarenden Rationalismus hinaus in die Erkenntnis des konkreten Individuums entwickelt.
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Hirohiko MIKAMI
Article type: Article
1977 Volume 28 Issue 3 Pages
59-
Published: December 30, 1977
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Among the views on the attribution of the two terracotta reliefs of angels in the Louvre (Collection Thiers), I agree to G. Passavant's view (Verrocchio, 1969) that the left-hand angel is by Verrocchio and the right one by Leonardo. In his discussion, however, Passavant does not show enough evidence to assign the right-hand angel to Leonardo, and has incurred D. Covi's objection (The Art Bulletin, No.54, 1972). In my opinion this deficiency can be complemented by the confirmation that the following six motives of the right-hand angel show the close correspondence with those of Leonardo's first florentine paintings and drawings, but not with those of Verrocchio's works : 1. the alert and extreme twist of the body 2. the pose stretching out an arm behind the profile 3. the harp-like outline of the head with a strongly protruding chin 4. the configuration of drapery behind the left knee 5. the fluttering ribbons 6. the left hand with the curved and separated little finger.
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Koichi MOTOKI
Article type: Article
1977 Volume 28 Issue 3 Pages
61-
Published: December 30, 1977
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The Friedsam Annunciation has been attributed as follows : (1) to Hubert van Eyck (or its copy) ; (2) to early Jan van Eyck ; (3) to Petrus Christus. The first and second opinion suppose in common that it was painted by the master of the Ghent Altarpiece in 1420s, especially before the Merode Altarpiece, whose setting is bourgeois interiors. It is said that the setting of Flemish Annunciacions became that for bourgeois room after the Merode Altarpiece. The Annunciation by the Flemalle school (Madrid, Prad) obviously copied the Virgin's pose from the Merode. The scene, however, is not set for bourgeois room but for church. Then the bourgeois room's interior was not necessarily represented in Flemish Annunciations just after the Merode. So we may suppose that the Friedsam Annunciation, whose setting is not for bourgeois interiors, could be painted after the Merode Altarpiece. The figure types of standing Virgin and Archangel seem to be based on those of Jan Eyck's Annunciation (the wings of the Dresden Altarpiece and the Thyssen Annunciation). And there are many parallels in details to Petrus' works : the wings of the angel are similar to that of the Berlin Wings' Annunciation ; the profile head of the angel can be compared to that of the Lamentation (Brussels, Musee Royal des Beaux-Arts) ; the treatment of Virgin's drapery is close to that of the Madonna of Jan Vos ; the modeling of head is to Petrus' type (e. g. the Virgin of Wildenstein Nativity) ; finally the high horizontal line (this panel was cut off at the top, and in the trimmed part the horizontal line was possibly painted) also appears in Berlin Wings' Nativity. Thus the author of the Friedsam Annunciation is inferred to be Petrus Christus. The Madonna of Jan Vos (ordered to Jan van Eyck and executed by Petrus), besides, shows obviously that Petrus had close relations with Jan in style. From this fact we conjecture that Petrus painted in Eyckian style for a certain period (e. g. Detroit St. Hieronymus). If so, then we can conclude that, the Friedsam Annunciation is one of the works of Eyckian style by Petrus Christus.
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Shin WATANABE
Article type: Article
1977 Volume 28 Issue 3 Pages
62-
Published: December 30, 1977
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A semantic process objectifies one function through which one content is grasped in and through another by human mind. A sign is a medium to lead this process in a definite direction. A work of art can also become such a medium. In case of a work of art, however, because of its artistic illusionality, the general character of which is indicated by Dr. S. Langer, only its perceptual image, not a thing but a particular perceptual phenomenon, is presented and becomes an object of consciousness. And only when variously related with many ideas and is signified, it is prescribed as one particular phase of something ideal and make it possible to comprehend something in relation to the whole. This is the structure of the semantic process that proceeds in the comprehension of the work of art whose formative quality makes it possible to signify something.
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Hajime SHIMOYAMA
Article type: Article
1977 Volume 28 Issue 3 Pages
63-
Published: December 30, 1977
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How should we interpret Munch's especial liking for self-portraits? Generally, it can be understood by the correspondence between subjective character of the selfportrait and that of his art itself. The very self-recognition in his self-portraits is one of the main sources of his art, which used to transfer his own experiences to pictorial media. Therefore his continual making of self-portraits can be thought to come from the essential character of his art. In fact, various forms of his self-portraits, including two series of them, eigentlich und latent, correspond orderly to the periods of his art. And when we examine his works in detail, it is evident that his art and also his self-portraits will to transform his own private images into more generalized ones. So the motive which developed his self-portraits accurately corresponds to that which changed his styles of his art. As he himself suggests, the best way to make clear the latter motive is to analyse Zwei Menschen od. Metabolismus (1899). This symbolical work tells the eternal renewal of life through the destruction of his own life. This is the manifestation of his idea of art as crystallization (according to him, death is the beginning for new life, for new crystallization). Thus his self-portraits also reveal his desire for the rebirth from his demoniac past.
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Shiro FUTAMI
Article type: Article
1977 Volume 28 Issue 3 Pages
64-
Published: December 30, 1977
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On peut remarquer quelque ressemblance entre l'avant-garde russe de 1910-20 (Kandinsky, Malevitch et Constructivistes) et les artistes americains de 1950-60 ("Abstract-Expressionism" et "Minimal Art")-l'atmosphere symbolique et l'interet a l'art primitif de celle-la et l'anti-expressionisme et la suprematie de la geometrique de ceux-ci. Cependant, d'un cote, artistes d'avant-garde russe, influences par l'Europe occidentale, ont fraye de nouvelles voies a l'aide de la tradition russe. Et, d'autre cote, l'"Abstract-Expressionists" ont cree l'espace unique avec leur sensibilite de "New World". Parvenant a l'art non-objectif, le Suprematisme conserve le sentiment cosmique. Et la Constructivisme se fonde sur l'ideologie scientifique de l'epoque nouvelle. Par contre, le "Minimal Art" refuse l'expression sentimentale et vise l'art "non-rational" en eliminant des rapports interieurs ou exterieurs. Le "Minimal Art" s'impose l'examen des signes artistiques. Il faut, donc, la recherche reductive du langage des arts plastiques si on veut reorganiser lurs contextes.
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Koji NAKAMURA
Article type: Article
1977 Volume 28 Issue 3 Pages
65-
Published: December 30, 1977
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In this article we argue four points as follows ; 1) Judging from the distinctive expressions of characters in portraits of TAIRA-no-Shigemori, MINAMOTO-no-Yoritomo and FUJIWARA-no-Mitsuyoshi, each identification is justified. 2) From a technical point of view, these portraits are painted true to the tradition of So-ga rather than that of FUJIWARA-period. 3) They are regarded as works by an anonymous painter who had considerably studied the style of So-ga, and not as those by Takanobu or his followers. 4) In conclusion, they must be painted after the period of Takanobu, though 'Jingoji-Ryakki' assigns the date of these works to his period.
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Takane MINAMOTO
Article type: Article
1977 Volume 28 Issue 3 Pages
67-
Published: December 30, 1977
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Takehiko FUKUNAGA, contemporary Japanese writer and poet, translated Charles Baudelaire's L'Invitation au Voyage into rhymed verse. Although we cannot say that it has no shortcomings, we can feel a natural rhythm in it and notice the fact that this rhythm comes from rhymes in Japanese. From our point of view, there exists generally a interrelation between meanings and rhymes ; clear meanings go well with effective rhymes. If so, then, there should be found more devices and considerations in our contemporary Japanese poems. There has been, as such an experiment, Matinee Poetique, Japanese rhymed poem movement, members of which, inspired by Shuzo Kuki's Rhymes in Japanese Poetry, tried to compose rhymed poems in fixed form. Their works are, however, almost neglected in Japan. Tatsuji MIYOSHI, Japanese famous poet, dares to say that rhymed poems cannot be written in Japanese. But, although clear rhymes don't always mean comfortable sounds to ear, rhymes can, if hided effectively, make poems very rhythmic. Thus there exists the reason why we should ask the possibility of rhymed verse in our contemporary Japanese poems.
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Kenichi SASAKI
Article type: Article
1977 Volume 28 Issue 3 Pages
69-
Published: December 30, 1977
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Le cosmopolitisme des oeuvres diverses et l'intellectualisme des amateurs de l'art : voila le caractere fondamental de l'esthetique du 20^e siecle (Cf. la notion marlauxienne du "musee imaginaire"). Nous avons la l'esthetique de tolerance qui vise a saisir toute oeuvre comme telle et dont la forme essentielle consiste a la pensee de style. Voici nos etapes principales : la "vergleichende Kunstwissenschaft"-l'histoire stylistique de l'art-H. Taine et sa theorie du milieu-Hegel et son histoire de l'art. Et au XVIII^e siecle ou a ete graduellement forme "l'historisme" contre "le point de vue de la loi naturelle" (Meinecke), notre attention est portee a Vico et a Du Bos : tous les deux ont interprete Homere correlativement a la vision du monde de l'epoque d'Homere. Cette attitude respectueuse envers les oeuvres historiques avait ete nettement montree par Fleury, l'auteur des "Remarques sur Homere" (1665). Precedant Du Bos et Vico, il annoncait l'esthetique formaliste de Kant. Et notre esthetique de tolerance se trouve toujours a l'ombre de Kant (Sous le regard "indifferent", la difference stylistique ne constitue plus d'obstacle pour la comprehension de l'oeuvre d'art). Mais il convient d'y remarquer de la decadence spirituelle ; pour Du Bos, la connaissance historique a ete necessaire pour gouter l'oeuvre d'art, tandis que, pour nous, c'est la connaissance historique meme qui est goutee dans l'oeuvre d'art.
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Sadaya KOHRI
Article type: Article
1977 Volume 28 Issue 3 Pages
70-
Published: December 30, 1977
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Les scientistes de l'art en Allemagne, ils ont souvent defini l'art comme une confrontation creatrice de Moi en face de la nature ou du monde. Aussi pour P. Valery, l'art signifie une activite consciente de l'esprit contre le desordre, l'impurete et l'aveuglement dans la nature. Valery est donc beaucoup plus attentif a la formation des oeuvres qu'aux oeuvres memes. Son dialogue "Eupalinos ou l'Architecte" admire surtout le pouvoir humain de construire, dont l'architecture est le temoignage le plus perfectif. "Je ne separe plus l'idee d'un temple de celle de son edification. En voyant un, je vois une action admirable, ...plus contraire a la miserable nature", dit Phedre. L'edifice correspond toujours a l'acte existentiel du constructeur. Construire, Valery entend ce mot en deux sens : l'un, realiser quelque edifice, l'autre, etablir le Moi authentique chez l'artiste. "A force de construire-dit Eupalinos-je crois bien que je me suis construit moi-meme". Pour etre soi-meme et plus libre, l'architecte se charge de confronter avec le monde qu'on appelle "sauvage". Et ce que Valery veut trouver dans cet acte provocant, c'est "le sentiment le plus immediat de la presence du divin". Sans doute pouvons-nous dire qu'il a cherche la signification de l'art comme formation a l'horizon de l'activite la plus pure de l'existence humaine.
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Akira ISHIDA
Article type: Article
1977 Volume 28 Issue 3 Pages
71-
Published: December 30, 1977
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Der Spielbegriff, der den Subjektivismus der kantischen Asthetik charakterisiert, bestimmt die subjektivistische Kunstauffassung der nachfolgenden neuzeitlichen Asthetik. Die gegenwartige Kunst will aber nicht mehr das Innere des Subjekts ausdrucken, sondern das kunstlerische Enviroment als Spielraum hervorbringen. So mussen wir das Wesen der Kunst in der Gegenwart mit einem neuen philosophisch begrundeten Spielbegriff begreifen. Das menschliche Spiel ist Symbol der Welt, und die Welt spielt das Weltspiel ohne Spieler (Fink). Der Mensch vermag wahrhaft zu spielen und im Spiel zu bleiben, indem er in den Abgrund des Seins springt (Heidegger). Die Hervorbringung vom Kunstenvironment mit dem asthetischen Objekt oder durch die asthetische Praxis in der gegenwartigen Kunst bedeutet die Befreiung des Menschen von der alltaglichen Wirklichkeit in den Spielraum der Welt oder des Seins. Dieses kann man wohl finden in Objekten der Farbe Rothkos, in superrealistischen Darstellungen von Kanovitz, in asthetischen Praxen Cages usw.
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Article type: Appendix
1977 Volume 28 Issue 3 Pages
72-
Published: December 30, 1977
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Article type: Appendix
1977 Volume 28 Issue 3 Pages
72-
Published: December 30, 1977
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Article type: Bibliography
1977 Volume 28 Issue 3 Pages
73-
Published: December 30, 1977
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Article type: Bibliography
1977 Volume 28 Issue 3 Pages
73-
Published: December 30, 1977
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Article type: Bibliography
1977 Volume 28 Issue 3 Pages
73-
Published: December 30, 1977
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Article type: Bibliography
1977 Volume 28 Issue 3 Pages
73-
Published: December 30, 1977
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Article type: Bibliography
1977 Volume 28 Issue 3 Pages
73-
Published: December 30, 1977
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Article type: Bibliography
1977 Volume 28 Issue 3 Pages
74-
Published: December 30, 1977
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Article type: Cover
1977 Volume 28 Issue 3 Pages
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Article type: Cover
1977 Volume 28 Issue 3 Pages
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