Aesthetics

[title in Japanese]

Article type: Cover
1992 Volume 43 Issue 1 Pages Cover1-
Published: June 30, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.43.1_Cover1

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[title in Japanese]

Article type: Cover
1992 Volume 43 Issue 1 Pages Cover2-
Published: June 30, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.43.1_Cover2

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[title in Japanese]

Article type: Appendix
1992 Volume 43 Issue 1 Pages App1-
Published: June 30, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.43.1_App1

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L'aspect de l'esthetique de l'honnete homme

Nobuhiro SHIIHARA

Article type: Article
1992 Volume 43 Issue 1 Pages 1-12
Published: June 30, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.43.1_1

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Chevalier de Mere est un ecrivain francais du XVII^e siecle. Maintenant, Son nom reste comme l'ami de Pascal, et aussi comme le principal theoricien de l'Honnete Homme (=HH). Mere dit que l'honnetete est "ce n'est autre chose que d'exceller en tout ce qui regarde les agrements et les bienseances de la vie." Dans cette definition, il y a deux concepts esthetiques. Dans une conversation divertissante de HH, le premier <agrement> est des regles de la Rhetorique, sur des bases de la retenue. le second <bienseance> est des regles des relations modestes entre soi et ses semblables. Et, les deux sont le sujet de l'eloquence dans le commerce du monde, se fonde sur l'art de plaire. Par cette eloquence, HH peut vivre heureusement, et rendre heureux des autres. Donc c'est la communication pratique, agreable et rationnelle. Et pour cela, HH a besoin d'avoir le bon gout, qui vient d'une connaissence exquise et juste, c'est-a-dire, la raison. Mais, cette raison n'est pas le sens philosophique, et coincide le "je ne sais quoi". C'est la caractere de l'esthetique de HH. Et, sur ce point, elle a une place dans l'histoire de l'esthetique.

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On Clement Greenberg's Formalistic Criticism

Tokiko KAWATA

Article type: Article
1992 Volume 43 Issue 1 Pages 13-23
Published: June 30, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.43.1_13

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After Abstract Expressionism, American art was not modeled after European art any more. Many critics regarded Abstract Expressionism as a quite new art separate from the past tradition of paintings. But Clement Greenberg defined it as the only heir to the tradition of the European paintings, particularly of Modernist paintings. He regarded the history of paintings as the dialectic development periodically fluctuating between the "plastic" and the "painterly". (These words are translated from Wolfflin's terms "plastisch" and "malerisch".) As for Modernism, Greenberg equates its essence with reinforcing "self-criticism". That's why, Greenberg asserts, Modernist art attempted to be a pure art, and Modernist painting increasingly emphasized "flatness.". But, in Greenberg's view, such painting cannot be flat enough to be the physical surface of the canvas ; inevitably it permit a strictly optical illusion of a third dimention. Greenberg's theory of formalism is based on Kant's aesthetics. According to Kant, aesthetic judgment is first made possible by an intuitive grasp of the formal element of the object in the world of phenomenon, and then by balanced faculties of transcendental cognition. So Greenberg attaches much importance to aesthetic intuition. But on that point, there are some problems, which I would like to investigate.

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"La Grande Chasse" by Jacques Callot : Hunt and Landscape Painting

Yukitaka KOHARI

Article type: Article
1992 Volume 43 Issue 1 Pages 35-45
Published: June 30, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.43.1_35

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This study clarifies the figurative features of hunt in the Western modern ages through the well known etching "La Grande Chasse" by Jacques Callot (1592-1635), and examines the relation between the development of hunt and the development of landscape painting. Based on the close research of many examples, the writer indicates that the painting of hunt as amusement, consists of the combination of motifs, such as 'Building-Water Current-Trees-Figures in the foreground', and their arrangement is also consistent. Above all, the dipicted building such as castle or villa, was a required motif to show that the hunting field was a part of a patron's tenure. Thanks to this motif, the patron could boast of his wide tenure and himself enjoying there. Since an actual view was required to be depicted in hunt, even if partially, the hunt functioned as a topographical landscape, which promoted to develop European modern landscape painting.

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On the composition of Shakado-engi Emaki : A study of Kano Motonobu

Seishi NAMIKI

Article type: Article
1992 Volume 43 Issue 1 Pages 57-70
Published: June 30, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.43.1_57

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Shakado-engi Emaki (scroll painting about legends of Shakado temple), owned by Seiryo-ji temple, is attributed to Kano Motonobu and is thought to be the outcome of a mixture of Wa-Kan (Japanese style and Chinese style). But Motonobu's mixture of Wa-Kan in this painting is not clearly explained. It is often treated so roughly, for example, Chinese style representation of trees and rocks in Emakimono style (traditional Japanese form). So we must analyze this work as essentially as possible. In this paper, I examine this from the aspect of comosition of various scenes. The distinctive feature of composition in this painting is Naname-kozu (the diagonal lines of flow in painting) and the expression of depth as the result of Naname-kozu. Motonobu's Naname-kozu is usually pointed out in wide pictures, byobu (folding screen painting) and fusuma (screen painting). And the origin of this Naname-kozu is "henkaku no kei", which was developed in Southern Sung and had a great influence in the Muromachi period, at first on hanging scrolls and secondly on wide pictures. Motonobu made use of this comosition in Emaki-mono style, and this is exactly the Chinese element in Shakado-engi Emaki.

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[title in Japanese]

Yutaka HIRATA

Article type: Article
1992 Volume 43 Issue 1 Pages 71-73
Published: June 30, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.43.1_71

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[title in Japanese]

[in Japanese]

Article type: Article
1992 Volume 43 Issue 1 Pages 74-
Published: June 30, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.43.1_74

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[title in Japanese]

[in Japanese]

Article type: Article
1992 Volume 43 Issue 1 Pages 75-
Published: June 30, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.43.1_75

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[title in Japanese]

Article type: Appendix
1992 Volume 43 Issue 1 Pages 76-
Published: June 30, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.43.1_76_1

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[title in Japanese]

Article type: Appendix
1992 Volume 43 Issue 1 Pages 76-
Published: June 30, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.43.1_76_2

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[title in Japanese]

Article type: Appendix
1992 Volume 43 Issue 1 Pages 77-
Published: June 30, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.43.1_77_1

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[title in Japanese]

Article type: Appendix
1992 Volume 43 Issue 1 Pages 77-
Published: June 30, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.43.1_77_2

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[title in Japanese]

Article type: Appendix
1992 Volume 43 Issue 1 Pages 77-
Published: June 30, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.43.1_77_3

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[title in Japanese]

Article type: Bibliography
1992 Volume 43 Issue 1 Pages 78-
Published: June 30, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.43.1_78_1

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[title in Japanese]

Article type: Bibliography
1992 Volume 43 Issue 1 Pages 78-
Published: June 30, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.43.1_78_2

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[title in Japanese]

Article type: Bibliography
1992 Volume 43 Issue 1 Pages 79-80
Published: June 30, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.43.1_79

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[title in Japanese]

Article type: Cover
1992 Volume 43 Issue 1 Pages Cover3-
Published: June 30, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.43.1_Cover3

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[title in Japanese]

Article type: Cover
1992 Volume 43 Issue 1 Pages Cover4-
Published: June 30, 1992
Released on J-STAGE: May 22, 2017

DOIhttps://doi.org/10.20631/bigaku.43.1_Cover4

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