Dans le bergsonisme, la memoire est presentee sous deux aspects : memoiresouvenir et memoire-contraction. La memoire-souvenir concerne la conservation du passe. La memoire-contraction concerne l'epaisseur du present et fait venir le futur qui est imprevisible. (1) La memoire solidifie en qualites sensibles l'ecoulement continu des choses. Chacun des arts vise a elargir la perception et a enrichir le present dans la direction de la qualite sensible qui lui est propre. Et l'art y arrive, puisque toute perception est deja memoire et que le present consiste dans le passe immediat. (2) Quant a l'imagination litteraire, il faut distinguer entre la personnalite qu'on a et celle qu'on aurait pu avoir. Notre passe est jonche de germes de personnalites. Reprendre et developper en personnages ces personnalites virtuelles que la memoire fournit, c'est le role de l'imagination litteraire. (3) L'art, en tant que creation, est ouvert au futur qui est imprevisible. Mais l'art, en tant que fabrication, concerne l'intelligence qui dispose du previsible. Donc, l'art peut etre considere comme la correlation de l'imprevisibilite et de la previsibilite. L'accord de l'imprevisibilite et de la previsibilite se revele le mieux dans le sentiment de la grace.

抄録全体を表示

In the Ohgenkan and the Ohjoin, edifices of the Myohoin temple at Kyoto, there remain 58 fusumas (paper-panels for sliding-door) with paintings on the gilded paper which are thought to be painted by some Kano-school painters during the Momoyama period. This paper treats of a group of fusumas, representing big pine trees, in 3 rooms of the Ohgenkan. Its author has been traditionally considered to be KANO, Eitoku. This picture with big pine trees, however, suffers a lot of abrasions on the surface, lacks some original parts and has later additions. And even the order of fusumas is not an original one. Therefore, at first, I reconstruct not only the original state of this picture but also the order of fusumas. Through this reconstruction, for the first time it becomes possible to discuss precisely on the attribution and the dating of this picture. The reconstructed picture shows us that in this picture is adopted the formula which was established by KANO, Eitoku through his works, such as "Flowers and Birds" (the Hojyo of the Jukoin temple), the "Japanese Cypress" picture on folding-screen, (Tokyo National Museum Collection). Comparing these authentic Eitoku's works with the above mentioned "Pine Trees" picture, between them are recognized some differences in details of rocks, lives and tree-truncs. And also clearly in the spatial role of golden background and in the spatial composition. The latter lacks the liveliness and inventiveness, and shows a manneristic crudeness : typical characters of the followers. Judging from these observations, it will be reasonable to say that the author of this picture is not KANO, Eitoku. And now I would like to attribute it to KANO, Soshu, Eitoku's brother. If my inference were right, he could be considered to be an intermediator between Eitoku and following generations and this picture to be executed at the end of the 16th century.

抄録全体を表示

Like Pater, Whistler took notice of "the abstract qualities of music ; in music and almost in music alone, it is possible for the artist to appeal to his audience directly, without the intervention of a medium of communication in common use of other purposes" (Herbert Read, "The Meaning of Art"). And he gave to his works such titles of musical terms ; symphony, harmony, arrangement and so on. One of them is "Nocturne", which he used for his night pieces. More important than this terminology, however, is the fact that he systematically developed his thought on art, depending upon "the abstract qualities of music". Especially arranging colors, which Baudelaire had already made much of in Delacroix's paintings, led him to a conception "la science de la couleur". Hilary Taylor says in her book about Whistler ("James MacNeil Whistler", London 1978) that the Nocturnes of the seventies or the tiny paintings of the nineties are "examples of abstract thinking" which "can only be matched in some of the most sophisticated painterly experiments of this century". The relation between Whistler and the abstract painters of the twentieth century has been hardly studied, but it was in 1881 that Theodre Duret used a phrase "une sorte d'abstraction" in explanation of the Nocturnes. Even if it were not to be a direct relation, it may safely be said that he made the first step in the development of the abstract art.

抄録全体を表示

Die lebenden Menschen sind wohl fur uns Menschen sehr wichtige und interessante asthetische Gegenstande. Aber Menschensein unterscheidet sich von alles anders Sein in seinem vernunftig-sittlichen Charakter, so muss es auffallen, dass unter der modernen Asthetik, die vor allem die Autonomie des Schonen behauptet hat, die Menschen kaum in Mittelpunkt der Erorterung gestanden hat. Diese Umstande sind besonders klar sichtbar beim sogenannten Begrunder der modernen Asthetik-Kant. Seine Bestimmung der Schonheit als Form der Zweckmassigkeit eines Gegenstandes ohne Vorstellung eines Zwecks kann nur daraus entstehen, dass man als reale Gegenstande die Natur-Objektes, worin kein Begriff von irgendeinem Zweck voraussetzt wird, z. B. Blumen, Vogel, Schaltiere, setzt. Aber man kann nicht die Schonheit der Menschen ubersehen, also behauptete Kant, dass es zweierlei Arten von Schonheit gab, und liess die Menschenschonheit zu nicht freie, bloss anhangende Schonheit gehoren. Nun beschaftigte Schiller sich als erster mit dem Studium der "Kritik der Urteilskraft", und schrieb bald seine eigentumlichen Theorie der Schonheit an Korner. Wenigstens eines der Motive, die ihm diese sogenannten Kallias-Briefe schreiben liessen, musste die von Kant geleistete ungerechte Behandlung der Schonheit des Menschen sein. Denn Schiller glaubte, dass gerade auf dem Menschen eine hochste freie Schonheit beruhen sollte. Damit bestimmte Schiller nun Schonheit als Freiheit in der Erscheinung, und also wird man seine Theorie der Schonheit, insbesondere seine Deduktion des Begriffs der Schonheit, im konkreten Gehalt und die Logik verstehen konnen, wenn man als asthetischer Gegenstand nur die Handlungen des Menschen setzt.

抄録全体を表示

In 31 Werken mit der Opus-Nummer von Anton Webern gibt es 17 Vokalwerken. Diese Vokalwerke wurden konzentrish auf den Wendepunkten seines Stils geschaffen, und damit kann es erklart werden, dass das Wort sehr wichtige Bedeutung hatte und grosse Rolle spielte fur Webern selber. Erst durch das Lied-Vertonen errang er seine eigene Ton-Ausdrucksweise, die fur seine innerliche Musik am besten geeignet war. In George-Liedern (op. 3, op. 4, 1907-09) verwandelte er seinen Stil in den atonalen. Aber dies geschah nicht plotzlich, sondern korrespondierte mit der allmahlichen Verwandelung dessen, was Webern bei der Lied-Vertonung fur das Wesentliche hielt. Um dies zu erweisen, wahle ich diesmal seine fruhe Dehmel-Lieder als Exempel aus. Sie sind insgesamt 8 Stucke. 3 Stucke hatten bis zum Jahre 1904 geschaffen worden. Aber 4 Stucke erschienen im Jahre 1907-08 und hauften chronologisch mit George-Liedern ubereinander. Durch die Vergleichung dieser Lieder von beiden Perioden kann die Verwandlung seines Gedankens hinsichtlich der Struktur der Musik und der Verhaltnisse zum Wort beobachtet werden. Besonders im Lied "Am Ufer" (1908) werden die Veranderung seiner innerlichen Musik und ihre Entsprechungsweise mit dem Wort aufgezeigt. Damit entfernte er sich von der traditionnellen Welt des Liedes und trat in seine eigene ein.

抄録全体を表示

One of the greatest monuments of the Hindus is Cave XVI at Ellora, so-called Kailasa Temple, dated from the mid-8th and early 9th century. This monument dedicated to Siva is an enormous monolithic rock-carving with several secondary caves and a surrounding corridor. As the main monolithic part was copied from a Dravidian temple, the southern Indian influence is conspicuous in its style as well as iconography. The central Indian elements, however, should not be overlooked. On the walls are seen about 200 figures of gods and narrative scenes of both southern and central Indian iconographical traits. By supplementing an earlier identification of these scenes made by Prof. R. S. Gupte, this writer could clarify the subject-matters of these figures and scenes. As a result, it appears to me that there might have been established traditions for the arrangement of the figures. On the walls of the antechmaber of the shrine are not terrible aspects of Siva (samhara-murti) but mild aspects of this god (saumya-murti). Of seventeen single figures on the outer walls of the shrine, all but two, a Visnu and a female figure, are depictions of Siva. Terrible aspects of Siva and his consort are displayed on the outer walls of the mandapa and Nandin hall and there are also Visnu and Brahma. Active aspects of non-Sivaite gods are depicted, only on the walls of corridor and surrounding buildings. Entering through the gate on which walls are low-ranked gods including Siva, devotees go into the world of major gods and finally arrive at the shrine where the eternal form of Siva-the linga-is enshrined.

抄録全体を表示

The "Shaseiga-ha ('ha' means school in Japanese)" is devided into two sub-schools appeared in the last half of the 18th century, the one of which is called "Maruyama-ha" and the other "Shijo-ha". These two schools are generally assumed not to be different in the sketching style of the nature. However, when we compare and observe the sketchbooks of MARUYAMA, Okyo (the representative of the "Maruyama-ha") and those of MATSUMURA, Keibun (that of the "Shijo-ha"), we can find that between them there exist certain differences in character and aesthetic sensibility.

抄録全体を表示

In examining the terminology of "nature" in Shaftesbury, we can understand that it implies, besides "essential quality", "external world" and further "the created whole". The very last implication of "nature" is emphasized in our treatise. The purpose of our inquiry is to realize the essential idea of "nature" and its relation to the idea of beauty in Shaftesbury. At first we recognize the concept of "natural affection" in his theory of natural morality. According to him it is a higher order of affection which makes it possible for a man to live in harmony with a society or a system he belongs to. A man must live according to the good or interest of the whole. And through the contemplation of Nature, we can acquire the idea of the whole, for Nature is a whole which consists of various systems and contains the order and harmony, which makes it beautiful. "The whole of Nature" is like a work of art, created by a unified design in order that every part may have sympathy with one another. So, it also means "a work of Nature" created by God. Therefore, the beauty in Nature induces us to the supreme beauty, which is the real cause of the sublime in Nature.

抄録全体を表示

La pensee esthetique de M. Dufrenne consiste en trois sections : phenomenologie du beau, ontologie du beau et traite sur les arts contemporains. La phenomenologie dans son esthetique est d'abord, comme les autres phenomenologies, descriptive et eclaire la structure noesis-noematique de l'experience esthetique, comme l'on le voit dans son regard tres vaste sur les oeuvres artistique. L'objet esthetique, le sensible, trouve sa place dans la perception, qui est le point de tangence du sujet et de l'objet. Cette maniere de penser subit l'influence de Merleau-Ponty plutot que celle de Sartre. L'ontologie du beau concerne le fond du sensible dans l'experience esthetique. Le sensible n'apparait que devant le sentir, qui est le moyen dialectique, l'acte commun du sentant et du senti. Le sujet et l'objet ont co-naissance et co-natura-lite, et ils participent de la seule chair du monde, dont le tressaillement et la dehiscence sont le commencement de la perception. Le caracteristique de l'art contemporain est l'engagement sartrien de la fete, outous les hommes composent unanimement un evenement dans le jeu. II y a chez M. Dufrenne une reverie ou l'art peut changer la vie de l'homme pour depasser la crise de la civilisation d'aujourd'hui.

抄録全体を表示

"Das Damonische" erinnert uns an die Musik Mozarts. Es ist als die geheimnisvolle Kraft aufgefassen, die sich im Kern seiner Musik verbirgt. A. Heuss versuchte, die musikalische Bedeutung dieser Kraft zu erklaren, und er erkannte, dass "Damonische" in der spezieller Anwendungsweise des "Molls" lag. Aber "das Damonische" verbindet sich im wesentlichen mit Form, Struktur oder primare Schicht (die Georgiades Meinung nach unabhangig vom Menschenwille ist), wenn es zum Wesen der Musik gehort. Es gibt eine stillschweigende Voraussetzung-"das Organische"-, wo es sich um Form oder Struktur der Musik handelt. Es sind Energetiker (H. Mersmann, H. Schenker, V. Zuckerkandl usw.), die "das Organische" in der Musik betonen. Und heute zwar halt man es fur das wesentliche Merkmal, aber in der Musik, wie Georgiades sagt, gibt es die Ordnung unabhangig vom "Organischen", noch dazu die Kraft, die "das Organische" uberschreitet. Und "das Damonische", das man in der Musik Mozarts erkennt, ist nicht anders als dieses "Uber-Organische".

抄録全体を表示

To take a first step into the study of the "Ashide-e", we should consider the word "Ashide (あしで)". As found in the "Ashide-utagire" (attributed to FUJIWARA, Kinto) "Ashide" is a decorative style of calligraphy. But in the 10th century, a style of combining "Ashide" with pictures of scenes of the water's edge was developed. And in the 11th century this combination became to be called "Ashide". On the other hand, in the "Ashide-e", characters of tankas are as elements of the picture, inlaid in other elements, typically stones and trees of the scene depicted. Of course we cannot easily distinguish the use of characters as ornaments of the picture from that as elements, -each of them has a close connection with the scene depicted-, but from this point whether characters are used as elements of the picture or not, we can distinguish the "Ashide-e" from the "Ashide".

抄録全体を表示

Shubun style of landscape serves under a special purpose to express the ideal life of Zen monk. It is not a representation of a specific landscape at a certain place, rather an idealized retreat which dwells in the heart (or mind). In the most profound Zen belief, the distinction between mind and matter ceases to exist. Although motifs are derived from Chinese poetry or landscape painting, Japanese works in the 15th century are different from them at the emphasis on the pervasive atmospheric space at the expense of logical clarity. Each figure serves as a signal for the picture to be grasped as a meaningfull whole and the backgroud space sets the place where the mind can play a ideal landscape sight-seeing. In the middle of this century, however, the suggestive style began to change into that of an explicit articulation, which represented more concretely each figure and drew the attention of the viewer more closely to its form. The essential purpose of the picture changed from the setting of the place for the ideal landscape sight-seeing to the expression of the poetic space by realistic figures.

抄録全体を表示

Turner's "pictures of nothing" have come to attract considerable attention in recent years. It is a matter of common knowledge that nonfigurative paintings and nonfinished works, not to speak of impressionistic paintings, play the most significant part in his art. It will be not too much to say that the discovery of his Colour Beginnings has made him the pioneer of the modern abstract paintings, especially those of abstract expressionism in America after the war. But, in fact, the pictures of this kind were noted already more than a century ago. "Pictures of nothing and very like", which is the remark about Turner quoted by Hazlitt in 1816. In 1909, Finberg arranged and defined more exactly Turner's works in "A Complete Inventry of the Drawings of the Turner Bequest", but the "Colour Beginnings" were arranged still as a part of the miscellaneous. Although we had better not overestimate them, we should at least think them important, because they reveal the bare character of Turner himself through their miscellaneous, fragmental and ordinary-living moments.

抄録全体を表示

Center for Advanced Visual Studies at M. I. T. was founded in 1967 by Gyorgy Kepes as a workshop and forum where artists explore and realize art work in collaboration with scientists and engineers. Now the Center's main works are to discover the new way of art by technology and to develop the art into an environment. Present director, Otto Piene has an opinion to create Environmental Art. He distinguishes Environmental Art which will be developed into an environment and which, in harmony with it, will create even a new environment, from Public Art which makes limitation of space against the environment and does self-revelation. In 1977 in Kassel, Germany and in 1978 in Washington D. C. "Centerbeam" was exhibited as experimental Environmental Art by C. A. V. S.. It was the collaborative work of art and technology.

抄録全体を表示

Considering the artistic presentation, we discuss two points in this paper. One is concenred with the modes of appearance of color, another with the contour effect. For our visual perception, the key modes may be surface color and film color. They are found not only in the outer world, but also within our visual process such as differentiates them. When we change the ways of looking at, these processes become clear, that is, brighter and clearer, or more cubic and three-dimensional than in the usual appearance. One of the examples is the so-called "Mach's card". In this case, we can perceive the shifting from a surface color perception to a film color perception, or vice versa. From such cases, we assume the existence of the two visual processes, one of which is the potential image forming process as a rather naive sensation, the other of which is the visual image forming process that enhances the figure character. Afterimage gives explicitly an example of both processes. The Hering's shadow demonstration tells us that the contour makes a surface color perception. Then we can suppose that the contour effect proves the linear drawing to be the expression gotten through the real nature in the visual perception.

抄録全体を表示

The Amida Trinity of the Ninna-ji temple (888) is noted in the history of the Buddhist iconography because it was the first to adopt the central placement of an Amida statue forming a jo-in (samadhi mudra), which was developed in the esoteric Buddhism. The figure of the jo-in Amida was first introduced to Japan in the beginning of the 9th century through mandalas brought back from T'ang China. This way of representation in sculpture in the late 9th century Ninna-ji temple, however, differs from that in an usual esoteric Buddhist temple. We can see the difference in the composition of the statues and in the selection of the figures from the mandala. And the iconographical form of the Amida statue does not follow that of the Tendai sect, as generally assumed ; rather, because it is most probably based on the Den-shingonin-mandala, it was developed under the strong influence of the Shingon sect. When we consider the fact that the Jodo sect had preserved the traditional formation of the triad since the Nara period, we must admit the following to be an important factor to explain such an employment of the new iconographic form : the Ninna-ji temple was built at the personal request of the Emperor Uda who was later to become a Shingon priest.

抄録全体を表示

In 1964 I proposed hypothetically three points ; (1) the type (a) of the shikorobuki roof which consists of deep eaves extended widely around a gabled roof is a prototype of the type (b) of the irimoyazukuri which consists of a hipped-and-gabled roof ; (2) then the Tamamushi Shrine of the type (a) proceeds the Golden Hall of the type (b) in the Horyu-ji temple collection ; (3) the type (a) is one of the important features of the Asuka style and the type (b) is one of these of the Hakuho style. In this paper I report five points that can confirm this hypothesis mostly taken from the new discoveries through my recent reseach of the Dunhuang wall painting in April 1979. I. In the Dunhuang wall paintings the type (a) appears in the cave 285 dated the 4th year of Datung (538) and is found in large numbers at the ceiling of the cave in the Northern Zhou period (556-81). But later in the Sui and the early Tang period this type disappears and makes place for the type (b). II. In China up to the period of Western Wei (439-534) the wall paintings show a densely filled-up space with objects placed at random on a heavy sepia-color ground. But this style makes place for that of a light, transparent and boundless space expression. And the painting style of figures changes from what is emerged from the Central Asia, to the traditional one. III. The story of the Xibeijiezhuan in the Liang-shu (History of the Liang-dynasty) tells us that the virtue of the Emperor Wu of Liang and the culture of the southern dynasties at his reign had already spread over to Central Asian countries. From this we can infer that along with the influx of the type (a) there is also an influence of the southern dynasties. IV. The origin of the roof of the type (a) can be safely said to be the rainy area of the south rather than the dry area of the north because of its deep-eavedness. V. Besides, a bamboo grove which grows on the southern banks of the Yangzu river (Jiangnan) is painted in the wall painting at the cave 285 which depicts the Buddha's life, and the same type of bamboo grove is found in a scene "Prince Makasatta feeding hungry tigers with his own body" on the Tamamushi Shrine. Thus, we can infer that the art of the Tamamushi Shrine is traced back to Liang of the southern dynasties and that it gave an influence to Japan through Paekche in Korea which had a close cultural connection with Liang China.

抄録全体を表示

Drama consists of speeches. But a speech is essentially a speech act, which includes three elements : the phonetic, the phatic and the rhetic act. In the written drama the phonetic act is lacking ; this act cannot be described by words, for then it would fall into the category of the epic form. Stage directions are not of absolute necessity, but there must be at the beginning of each speech a name referring to the person who speaks. So, drama consists of incomplete sentences such as : Hamlet... "Go thee to a nunnery." (In the epic form this will be : Hamlet said, "Go thee to a nunnery.") We feel uneasy for the lack of the predicate. But no other deed can disslove this feeling than adding the phonetic act to it. An actor does this on stage. Therefore, in reading a drama, a reader becomes an actor in imagination. But he must play not only a part of the speaker but at the same time of the one he speaks to. For a speech act is always a dialogue act. Moreover, a reader watches the stage he himself is forming, though the physical (perceptual) relation is vague. In short, a reader of a drama plays in imagination three parts simultaneously : the speaker, the listener and the audience. And at this time he loses his own position. That is why drama makes us long for the actual experience, that is, regaining of our physical positions.

抄録全体を表示

Der Leib ist raumkonstituierend. Kraft seiner Funktion des Tastens steht der Leib diesseits aller raumlichen Scheidung von aussen und innen. Da der Tastsinn aber die sog. Doppelempfindung ist, ist der Leib sowohl Subjekt wie Objekt des Tastens. In dieser Einheit von der Tatigkeit und dem leidenden Zustande liegt die Moglichkeit der Unterscheidung von aussen und innen. Das Getastete entfaltet sich erst in einem Nacheinander von Tasteindrucken. Der tastende Leib muss sich also in einem Nacheinander von Jetzt und Jetzt...bewegen, um das Nacheinander des tastbaren Dort zu erreichen. Zeitkonstituierend wird der Leib, indem er sich tastend-selbstbewegend findet. Leiblichkeit und Raum-Zeitlichkeit gehoren in ihrer Sinngebung einander zusammen. Der Leib bedeutet einen "Nullpunkt" der Welt als der raum-zeitlichen Totalitat. Wenn wir diesen unwahrnehmbaren und absoluten Nullpunkt sinnlich auffassen wollen, schaffen wir ein Kunstwerk : wir stellen die Beschaffenheit des leiblichen Konstituierens von Raum-Zeit dar, indem wir eine Form mit Tonen, Farben, Steinen usw. gestalten. Die kunstlerische Form hat deshalb stets eine leibhaft organische Einheit. Die Kunst ist die Tat des Narziss.

抄録全体を表示