Aesthetics
Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962
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Volume 31, Issue 2
Displaying 1-15 of 15 articles from this issue
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  • [title in Japanese]
    Article type: Cover
    1980 Volume 31 Issue 2 Pages Cover1-
    Published: September 30, 1980
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.31.2_Cover1
    JOURNAL FREE ACCESS
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  • [title in Japanese]
    Article type: Cover
    1980 Volume 31 Issue 2 Pages Cover2-
    Published: September 30, 1980
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.31.2_Cover2
    JOURNAL FREE ACCESS
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  • Die Idee von Dichtung bei Hajime Onishi
    Tamio KANEDA
    Article type: Article
    1980 Volume 31 Issue 2 Pages 1-8
    Published: September 30, 1980
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.31.2_1
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    Die moderne Asthetik in Japan beginnt meiner Auffassung nach mit Hajime Onishi (Sozan). Mit ihm war eine Zeit gekommen, wo es gleichsam geschichtlich notwendig war, die europaische Asthetik in Japan zu verankern. Ich untersuche im vorliegenden Aufsatz zwei Fragenkreise, Onishis dichterische, seine Asthetik unterstutzende Erlebnisse und seine daraus gebildete Theorie der Dichtung. Denn seine moderne Idee von Dichtung hat eine grosse Bedeutung fur seine Ubernahme der europaischen Asthetik und daher fur seine Begrundung der Asthetik in Japan. Seine Idee der Dichtung zeigt einerseits eine Kontinuitat mit der spaten Edozeit, schliesst aber auf der anderen Seite kunstlerische Ideen des modernen Europas ein. Sozans Theorie der Dichtung bezieht sich auf die Aufgabe der Poesie, zeigt aber eine ahnliche Konstruktion wie die Theorie von Shoyo Tsubouchi, der in "Shosetsu Shinzui (Der Geist des Romans)" die traditionelle japanische Roman Theorie mit dem modernen Realismus der europaischen Dichtung verbindet. Man kann sagen, dass die Asthetik Sozans auf der Grundlage einer solchen Idee von Dichtung europaische Gedanken ubernommen hat und so geformt worden ist. In diesem Sinne ist die Ubernahme der europaischen Asthetik nicht die von ausseren oder fremden Elementen. Wenn das Bemuhen, die europaische Asthetik positiv aufzunehmen, im Zusammenhang mit der traditionellen japanischen Idee der Kunst erfolgt, so ist da die moderne japanische Asthetik erst wahrhaft begrundet.
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  • Uber die Entstehungszeit der <<ersten geometrischabstrakten Zeichnung>> von W. Kandinsky
    Hideho NISHIDA
    Article type: Article
    1980 Volume 31 Issue 2 Pages 9-26
    Published: September 30, 1980
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.31.2_9
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    Gegenwartig ist eine <<geometrisch-abstrakte Zeichnung>> nachgelassen, die bisher als den einen unter den Entwurfen zu dem bedeutenden Werk <<Kleine Freuden>> (1913) angesehen war. Aber diese Zeichnung ist, nach meiner Motiv-Analyse und-Interpretation, unbezweifelbar eine vorbereitende Skizze fur das spatere Werk <<Ruckblicke>> (1924), und also urteile ich schliesslich, dass sie etwa Ende 1923 oder Anfang 1924 anstatt 1913 gezeichnet wurde. Dieses beides habe ich hier durch die ausfuhrliche Analyse der bemerkenswerten Motive begrundet, die in den <<Kleinen Freuden>> und deren Entwurfen (1913), in <<dem blauen Bogen>> (1917) und <<La place Rouge>> (1917), in der <<Schwarzen Begleitung>> (1924) und den <<Ruckblicken>> (1924) mit enthalten sind. Hierbei kann ich als der Schlussel fur diese Begrundung nur auf die folgenden zwei Tatsachen hindeuten : 1) in der oben genannten Zeichnung das Hauptmotiv "Erzengel Michael mit dem Drachen kampfend" in dem <<Bild mit weissem Rand>> (1914) gezeichnet zu sein ; 2) das Motiv der "Form eines mit einem Quasi-Dreiecke zusammengestellten Kreises", das falsch als abstrackte Metamorphose eines "gerade auffliegenden Pegasus" interpretiert ist, auch in der "Schwarzen Begleitung" finden zu konnen.
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  • Japanese Aesthetic Sense
    Chikara MOTOI
    Article type: Article
    1980 Volume 31 Issue 2 Pages 27-31
    Published: September 30, 1980
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.31.2_27
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    Concerning Japan and the Japanese, one of the things which particularly interest foreigners is the special characteristics of Japanese etiquette, that is, the "virtue of modesty". Behind this virtue is found isolation, separation and sometimes extreme exclusivity which is found only in a primitive society. And the aesthetic senses based on this "virtue of modesty" are called yugen (quiet beauty), aware (sensitiveness to beauty), wabi (taste for the simple and quiet), sabi (elegant simplicity) etc. But these aesthetic senses seem to be taking on a new aspect : it is a baroque aesthetic sense such as "basara, kabuki" which some scholars on Japanese literature have recently taken up for their studies and which Shuzo KUKI calls "futomi (ampleness)". When we think of this as new creative energy, perhaps we can expect the development of this new aspect in Japanese aesthetic sense coming out of its former one.
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  • The Haniwa's eyes and the modes of color appearance (II)
    Asao KOMACHIYA
    Article type: Article
    1980 Volume 31 Issue 2 Pages 32-40
    Published: September 30, 1980
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.31.2_32
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    Against the term "film color", that means one of the modes of color appearance, I propose to retain the term "pseudo-film color", meaning a rather loose notion added to the figural factor. The application of this term to the plastic arts is supposed to make it easy to explain the expression of the filmy quality of color within them. As one of the apt examples of such presentations, we find the eyes of the Haniwa, unearthed from the Japanese old mounds. Even though Haniwas have no representational eyes, they yield the innocent looks expressing the primitive speculation on the non-realistic presentation. The expression of the Haniwa's face differs expressly from that of the Greek sculptures, whose eyes are now lost. A sort of ambiguousness contained in the characteristic of the Japanese expression causes that difference. To be ambiguous is to be adaptive. To be adaptive means not to be demarcated visually and/or psychologically. The cause of the adaptive quality lies in the negative phase to the representative naturalism, which the Haniwa has in common with the Noh mask. All above come from the pseudo-film color in the hole eyes. The eye is recognized to have the most expressiveness and a dreadful magical power, while according to the total lack of its actuality the eye brings out diversity of the vision. There are the eternal time, the infinite space, the death and the grief filled in the small holes of the Haniwa's eyes. That is the most splendid success that comes from the forming with the qualities of the pseudo-film color.
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  • Codice Huygens : un manuale sul disegno dell'Italia settentrionale del sec. XVI
    Tohru MIYOSHI
    Article type: Article
    1980 Volume 31 Issue 2 Pages 55-72
    Published: September 30, 1980
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.31.2_55
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    In questo articolo vogliamo occuparci del significato e della formazione del Codice Huygens (Pierpont Morgan Library, New York) che fu composto da autore anonimo intorno al 1570 in ambiente milanese. Il Codice e diviso in 5 libri, ma pensiamo che il piu importante sia il Libro V o "Della prospettiva". Il discorso sulla prospettiva contenuto nel quinto libro vuole arrivare alla costruzione teorica di una "figura scorciata" dell'oggetto, basata sui concetti di <<ragione degli angoli>> e dei <<tre vederi>>. Partendo da questi due concetti si giunge alla proporzione della "figura scorciata" dell'oggetto in relazione fra la posizione dell'oggetto stesso e quella dell'osservatore. Per tanto si puo ritenere si tratti di un manuale sul disegno inteso ad insegnare in modo teorico la tecnica dello scorcio, problema, questo, estremamente rilevante della pittura italiana nel periodo che va dal Rinascimento al Barocco. E si puo altresi pensare che la teoria prospettica secondo i <<tre vederi>> contenuta nel Codice e relativa alla "istoria", derivi da quella di Gaurico e Lomazzo. Inoltre, nel Codice sono contenuti numerosi riferimenti al pensiero teorico di Leonardo e, sopratutto nel Libro IV, appaiono riproduzioni di suoi disegni, di alcuni dei quali altrimenti non si avrebbe notizia. Un ulteriore significato del Codice e di tramandare ai giorni nostri il contenuto di manoscritti leonardeschi che sono andati perduti. Il metodo delle riproduzioni del Codice Huygens e simile a quello del Codice Urbinate compilato da Francesco da Melzi, discepolo di Leonardo. Quindi, se si mettono in relazione le figure e il contenuto del Libro V del Codice Huygens con il Lomazzo, e possibile supporre che l'ignoto autore del Codice Huygens si sia trovato nella posizione dove le cerchie lomazziana e melziana si intersecarono.
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  • [title in Japanese]
    [in Japanese]
    Article type: Article
    1980 Volume 31 Issue 2 Pages 78-
    Published: September 30, 1980
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.31.2_78
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  • [title in Japanese]
    Article type: Appendix
    1980 Volume 31 Issue 2 Pages 79-
    Published: September 30, 1980
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.31.2_79_1
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  • [title in Japanese]
    Article type: Appendix
    1980 Volume 31 Issue 2 Pages 79-
    Published: September 30, 1980
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.31.2_79_2
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  • [title in Japanese]
    Article type: Appendix
    1980 Volume 31 Issue 2 Pages 79-
    Published: September 30, 1980
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.31.2_79_3
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  • [title in Japanese]
    Article type: Appendix
    1980 Volume 31 Issue 2 Pages 79-
    Published: September 30, 1980
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.31.2_79_4
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  • [title in Japanese]
    Article type: Bibliography
    1980 Volume 31 Issue 2 Pages 80-
    Published: September 30, 1980
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.31.2_80
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  • [title in Japanese]
    Article type: Cover
    1980 Volume 31 Issue 2 Pages Cover3-
    Published: September 30, 1980
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.31.2_Cover3
    JOURNAL FREE ACCESS
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  • [title in Japanese]
    Article type: Cover
    1980 Volume 31 Issue 2 Pages Cover4-
    Published: September 30, 1980
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.31.2_Cover4
    JOURNAL FREE ACCESS
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