Aesthetics

[title in Japanese]

Article type: Cover
1992 Volume 42 Issue 4 Pages Cover1-
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_Cover1

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[title in Japanese]

Article type: Cover
1992 Volume 42 Issue 4 Pages Cover2-
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_Cover2

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[title in Japanese]

Article type: Index
1992 Volume 42 Issue 4 Pages Toc1-
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_Toc1

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Il Secondo Commentario di Lorenzo Ghiberti-il carattere della storiografia

Shigenori NISHIYAMA

Article type: Article
1992 Volume 42 Issue 4 Pages 1-11
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_1

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Lorenzo Ghiberti, l'autore dell'opera sopra citata, e stimato come "il primo vero storico dell'arte che la storia ricordi" dal Schlosser, come uno dei grandi storici dell'arte dal Krautheimer, e come "il primo grande storico dell'arte che abbia avuto l'Italia" dal Murray. I suddetti studiosi mettono soprattutto l'accento sulla fedelta ghibertiana ai fatti storici. Per esempio, Murray dice che "il Ghiberti voleva conoscere che cosa e accaduto in realta". Giudizi come questi sono un po'inesatti secondo il parere dello scrivente. E vero che il Secondo Commentario e la fonte essenziale per lo studio della storia artistica del Trecento e testimonia l'attivita artistica del Ghiberti stesso. Inoltre, in esso traspare "chiarezza e autonomia di giudizio", come afferma il Krautheimer. Tuttavia, il primo scopo del Ghiberti nella sua narrazione storica non e soltanto di verificare e riferire fatti storici. I Commentari, nel loro complesso, sono basati sull'intenzione ghibertiana di rivendicare l'onore dell'autore stesso in relazione a diversi problemi che egli come artista incontrava allora, come si puo leggere tra le righe nella narrazione storica del Secondo Commentario. Il presente saggio vuole dare un giusto contrappeso ai pareri sopra citati riguardanti la narrazione ghibertiana, al fine di formulare un'interpretazione piu adeguata della sua opera.

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Image et mimesis chez Platon

Makoto SEKIMURA

Article type: Article
1992 Volume 42 Issue 4 Pages 12-22
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_12

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L'image platonicienne se situe toujours inferieurement par rapport a son paradigme, encore que cette inferiorite ontologique ne degrade pas sa signification philosophique. La position equivoque de Platon concernant la mimesis est due a l'ambiguite d'estimation de l'image, celle-ci pouvant etre consideree soit comme un obstacle, soit comme un element directeur ou un point de depart. Cela nous conduit a la reflexion sur la relation entre l'image et le sujet afin de comprendre la fonction fonda-mentale de la mimesis. Chez Platon, on remarque qu'il y a deux sortes d'images : image "phantastique" qui laisse le sujet voyant passif et dont le producteur est un sophiste, et image eicastique qui rend le sujet actif et capable de saisir le lien paradigmatique de l'image et de son modele. La seconde fonctionne, dans la theorie de l'education de la Republique II et III, en formant dans l'ame un lieu ou se lient l'image sensible et le modele qui doit etre suivi. Lorsque le sujet les represente ainsi unis, il en vient a posseder l'activite mimetique en s'assimilant a l'image qui s'oriente vers le modele. En effet, la theorie de la reminiscence, exposee dans le Phedon, montre le processus interne au cours duquel le sujet acquiert le dynamisme intuitif a l'egard de legalite en soi, au moyen de l'attention a la ressemblance, tandis que l'aspiration metaphysique succede le motif amoureux. Ainsi, la mimesis a partir du voir l'image se differencie de celle qui apparait dans la Republique X, ou il s'agit de la production unilaterale de l'image "phantastique". Ce renversement de direction se realise sous l'effet de la participation du sensible, quand elle se superpose a la directivite interne et philosophique, si bien que l'activite mimetique du sujet voyant est integree, comme base et condition, dans la structure meme de la philosophie de Platon.

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Catharsis and Tragic Pleasure

Koji WATANABE

Article type: Article
1992 Volume 42 Issue 4 Pages 23-33
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_23

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The pleasure from mimetic works is regarded as the natural pleasure of learning and understanding through mimesis in ch. 4 of the Poetics. By the way, Tragedy is defined as an imitation not only of a complete action but of events which are fearful and pitiful. As to the complete action, in chs. 7 & 8 the compound concept of unity, whose constituents are wholeness, order, singleness and appropriate scale, is defined by reference to the cardinal principle of necessity and probability. The cardinal principle represents the intelligible and internal cohesion of the action portrayed in the poetry, and at the same time it is the 'logic' we apprehend in the construction of the plot. On the other hand, as to the fearful and pitiful events, in chs. 13 & 14 fear and pity are distinguished from repulsion. For example, good men should not be shown passing from prosperity to affliction, for this is neither fearful nor pitiful but repulsive. Tragic events are required to remove the repulsive events from the material actions. Catharsis is, therefore, to purify the repulsive events, and the tragic pleasure comes from understanding the 'logic' of the plot.

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Who is it that can produce? : On the idea of creativity in Leonardo da Vinci and Michelangelo

Noboru YOSHIKAWA

Article type: Article
1992 Volume 42 Issue 4 Pages 34-45
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_34

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The aim of this paper is to demonstrate the different origin of Leonardo's and Michelangelo's idea of creativity by analyzing their artistic expression, especially their representation of the madonna as the holder of productive or creative ability. Leonardo's madonnas before 1480 were represented as teenage girls without grown-up wombs ; that is, Leonardo's early madonnas are represented not as the mothers who embody the productity of nature but as the virgins who are only the holy instrument of God the Father. But after 1480, especially in "the Burlington House Cartoon", Leonardo succeeded in the representation of the motherhood as Productivity itself by introducing the image of St. Anna as a kind of the great mother. On the contrary, Michelangelo's earliest madonna was a king of the great mother. Michelangelo acquired this image by a special adaptation of the "Platytera" which stands for the holy womb giving birth to God's son. But in the painting of the Holy Family "Tondo Doni", the real productive power was now given to the father Joseph who takes the posture of michelangeresque type of "Platytera". Christ was handed over through the madonna into Joseph's own hands to show that the Child as the product does not belong to the mother but the father.

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Uber den Wortsinn in der hollandischen Kunstliteratur des 17. Jahrhunderts, 'shilderachtich'

Toshio CHIHAYA

Article type: Article
1992 Volume 42 Issue 4 Pages 46-56
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_46

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Das Wort, 'Schilderachtich' (=malerisch), wurde zuerst von Carel van Mander in "Het schilder-boek" (1604) verwandt. Obwohl Giorgio Vasari (1550) schon ein italienisches Wort, 'pittoresca', verwandt hatte, unterschied van Mander dazwischen, indem er 'pittoresca' auf 'schilderich' ubertrug : Joachim von Sandrart nahm in "Teusche Akademie" (1675) das Wort, 'schilderachtige' (sic), auf. Also hatte 'schilder-achtich' in den Niederlanden des 17. Jahrhunderts eine eigene Bedeutung. Van Mander nannte das 'schilderachtich', was man nach der Natur behutsam darstellt, und das gilt auch, wenn ein Maler tuchtig, barmherzig und sittsam ist. Weil er diese zwei Bedeutungen nicht deutlich unterschied, konnten seine Zeitgenossen das Wort nicht richtig aufnehmen. Wie von Sandrart berichte, nannten damalige Kunstliebhaber 'schilderachtich' die nicht aus der Klassik kommenden profanen Themen : Genre, Landschaft und Stilleben, die in den Niederlanden des 17. Jahrhunderts popular waren. Jan de Bisschop machte daher in "Paradigmata" (1671) kritische Bemerkungen, dass man nicht die klassische Skulptur studiert, sondern etwas Hassliches darstellt, unter dem Namen, 'schilderachtich'. Dagegen nahm Gerard de Lairesse in "Het groot schilderboek" (1707) das Wort an, indem er ihm eine klassizistische Bedeutung gab. Er nannte 'schilderachtich' die Landschaftsmalerei wie von Poussin. Wie es in Francois Halmas Worterbuch (1717) steht, wurde das Wort nun als Synonym von 'de la grace' angenommen. Damit hatte es die eigentumliche Bedeutung aufgehoben.

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On the Painting of the Six Dynasties Period : The Lacquer Screens Excavated at the Sima Jinlong Grave

Shinichi FURUTA

Article type: Article
1992 Volume 42 Issue 4 Pages 57-67
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_57

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The Six Dynasties was a period of considerable importance in the history of Chinese painting. In spite of this, it has been difficult to clarify a concrete image of the period due to the lack of extant examples. Thus, past research on Six Dynasties painting has tended to restrict itself mainly to abstract theory centered on descriptions from painting histories and theory. The lacquer screens excavated from the Sima Jinlong grave in Datong, Shanxi Province in 1965 are original Six Dynasties works which can be dated the eighth year of the Dahe era (484) in the Northern Wei dynasty, and are therefore examples of exceptional value to painting research. This paper makes clear the pictorial character of these lacquer screens by consideration of their content and expression. For the subject matter of most of these screen paintings is a visual representation of the Confucian moral viewpoint, based on the moral principles popular in the Han period. Also, when they are compared to works with similar themes, such as "Admonitions to the Court Ladies" (Nushizhen, in the British Museum), attributed to Gu Kaizhi, and "Illustrious Women" (Lienu, in Beijing Palace Museum), one can see that there are similarities in expression and Composition. Comparison shows that three works all belong to the same type of painting, and clearly shows us one aspect of Six Dynasties painting.

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[title in Japanese]

Ko TANIMURA

Article type: Article
1992 Volume 42 Issue 4 Pages 68-72
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_68

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[title in Japanese]

[in Japanese]

Article type: Article
1992 Volume 42 Issue 4 Pages 73-
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_73

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[title in Japanese]

[in Japanese]

Article type: Article
1992 Volume 42 Issue 4 Pages 75-
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_75

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[title in Japanese]

[in Japanese]

Article type: Article
1992 Volume 42 Issue 4 Pages 76-
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_76

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[title in Japanese]

Article type: Appendix
1992 Volume 42 Issue 4 Pages 77-
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_77_1

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[title in Japanese]

Article type: Appendix
1992 Volume 42 Issue 4 Pages 77-
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_77_2

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[title in Japanese]

Article type: Appendix
1992 Volume 42 Issue 4 Pages 77-
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_77_3

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[title in Japanese]

Article type: Appendix
1992 Volume 42 Issue 4 Pages 77-
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_77_4

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[title in Japanese]

Article type: Bibliography
1992 Volume 42 Issue 4 Pages 78-
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_78_1

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[title in Japanese]

Article type: Bibliography
1992 Volume 42 Issue 4 Pages 78-
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_78_2

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[title in Japanese]

Article type: Bibliography
1992 Volume 42 Issue 4 Pages 79-80
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_79

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[title in Japanese]

Article type: Cover
1992 Volume 42 Issue 4 Pages Cover3-
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_Cover3

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[title in Japanese]

Article type: Cover
1992 Volume 42 Issue 4 Pages Cover4-
Published: March 31, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.42.4_Cover4

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