In the late eighteenth century one species of beauty was illustrated and recommended by William Gilpin. That was the beauty of the rough or rugged objects and termed the picturesque because of its agreeableness in a picture. Further Uvedale Price also maintained that the two opposit qualities of roughness, and of sudden variation, joined to that of irregularity, were the most efficient causes of the picturesque. Both recongnized the Picturesque as a third aesthetic category in addition to the Sublime and Beautiful. But this new category, though there some temporal controversy happened, was not so prevalent in the aesthetics of the Continent as the sublime was. The reason why it remained provincial seems to be that this concept was presented after all to denote the landscape beauty of the country of Great Britain, and it is needless to say that the natural scenery varies and changes according to the local places. Thus in this paper I have tried to make clear this concept of picturesque and the real background of it.

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"Ist das asthetische Verhalten uberhaupt eine dem Kunstwerk gegenuber angemessene Haltung?" Diese Frage von H. G. Gadamer, die er in seinem "Wahrheit und Methode" negativ beantwortete, noch einmal in Frage zu stellen, versuche ich in diesem Aufsatz. Aber es ist nicht meine Absicht, auf dem Recht der subjektstheoretischen Asthetik zu bestehen. Die im Begriff des Asthetischen liegenden Probleme, besonders die theoretischen Schwierigkeiten von asthetischer Unterscheidung, konnen von der subjektstheoretischen Asthetik nicht gelost werden. Der Schlussel zur Losung dieser Probleme ist m. E. in der Strukturontologie von Heinrich Rombach zu finden. Denn der Begriff der Struktur als der Konstellation in seiner Ontologie gibt eine einleuchtende Erklarung uber das dynamische Wesen des Kunstwerkes und der Kunstbetrachtung. Das Kunstwerk ist die Konstellation der Momente. Deshalb ist ein dem Gemalde gegenuber angemessenes Sehen die Konstellation der Handlungen. Mit anderen Worten, das Sehen im obigen Sinne muss sowohl das asthetische Verhalten wie das ausserasthetische Verhalten als die notwendige Momente enthalten und diese konstellieren. Zu diesem Zweck musses auf eine geschmeidige und wirksame Selbstkorrektur (Selbstberichtung) hin eingestellt sein. Wenn es mir in diesem Aufsatz gelingt, diese Thesen zu bestatigen, kann ich die subjektstheoretischen Missverstandnisse bezuglich der asthetischen Unterscheidung aufklaren.

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0. The Noh-play is an art of performance realized in the theatrical relation between the actor and spectators. Zeami calls the aesthetic value of the performance "Flower". There are three fundamental kinds of "Flower" as follows. 1. The "Flower" of Body (態より出で来る花) This "Flower" appears in the sensuous qualities of the actor, especially, sweet voice and charming posture, which only the younger possesses. But as he grows older, he loses this transient beauty. 2. The "Flower" of Mind (心の花) This "Flower" comes out at the dimension of performance which harmonizes Mind with Body. At this stage of harmonized Mind-Body attained through the discipline, the actor presents the graceful figure of the Body and expresses the profundity of the Mind. At the climax of the play, spectators sympathize with the deep passion of the personage, contemplating the elegant figure and movement of the actor. Then spectators experience the beauty called "Yugen". 3. The "Flower" of No-Mind (無心の花) During the course of performance, the actor comes to lose his consciouness controlling the Body and techniques and reaches the dimension of No-Mind. No-Mind is the creative subjectivity of human nature. At this stage of performance, the most splendid "Flower" blossoms out.

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This paper is based upon the author's interpretation on the Virgin and Child : The Christ, taking off His swaddling clothes, stands on a knot of His clothes which symbolizes His determination. These mean that He, realizing the Incarnation, is determinded to be the Redeemer. The Virgin's folds, held under her forearms, hanged on each elbow of her seat and on the plinth, show that she, responsing to Him and rising from her seat, is in arrested motion because of her realization of the Passion. The Virgin and Child, therefore, has a time-structure. The Saints who were in colloquy move and act in response to Him, with this time-structure. St. Prosdocimus as a bishop is turning his upper body to the onlookers to be baptized. St. Louis, judging from his hand, was in the act of blessing as symbol of the priestly office. He, responding to Him, intends to draw the onlooker' attention to Him by pointing towards the center, by running his eyes over the onlookers. St. Giustina is a variation of the Virgin in the Cavalcanti and, turning back, points towards the Christ saying to the onlookers "Salvation unto our Christ." The poses and gestures of the Saints would be consistent by this setting.

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