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Article type: Cover
1993 Volume 44 Issue 3 Pages
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Published: December 31, 1993
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Article type: Cover
1993 Volume 44 Issue 3 Pages
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Published: December 31, 1993
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Junko NINAGAWA
Article type: Article
1993 Volume 44 Issue 3 Pages
1-11
Published: December 31, 1993
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The half-length devotional portrait diptychs by Rogier van der Weyden (1399/1400-1464) share a common formula in which the Virgin (a feminine element) occupies the left-hand ("dexter") panel while a praying male figure (a masculine element) occupies the right-hand ("sinister") panel. It is thought that Rogier's strict formulation may have resulted from the instructions of the patrons (probably depicted as the praying figures) whose commissions he received and who, as courtiers of Philip the Good, sought to convey their loyalty and chivalrous devotion. Precedents for Rogier's formulation may be found in the French and Burgundian court traditions. While inheriting these traditions, Rogier seems to have conceived his formula by juxtaposing stencils of existing and independent Virgin and portrait paintings. We can infer this, for instance, from the fact that the right and lefthand panels of early examples of Rogier's diptychs display a weak compositional and motival integration. Some of Rogier's followers seem to have made use of his stencils. However, while the influence of Rogier's fromula was especially strong among the portrait diptychs painted in the North during the century following his establishment of the formula in c. 1450, we can also identify a number of examples which display different compositional features.
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Makoto MIYASHITA
Article type: Article
1993 Volume 44 Issue 3 Pages
12-22
Published: December 31, 1993
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Trotz seiner Tatigkeit im Bauhaus galt Klee in den 1920er Jahren in Deutschland als Surrealist. Ursache dafur war vor allem die erste Ausstellung bei Vavin-Raspail 1925, die Pariser Surrealisten begeisterte. Davon ausgehend vertreten eine grosse Anzahl von Forschern die Auffassung, dass dieses Klee-Bild in Paris entstanden war. Untersucht man aber die damaligen deutschen Kunstzeitschriften, so kann man feststellen, dass das Bild "Klee als Surrealist" in Deutschland gemacht wurde. Dabei halfen deutsche Kunsthistoriker, Kritiker und Kunsthandler kraftig mit : da ihr Landsmann bei den Pariser Surrealisten grossen Beifall gefunden hatte, glaubten sie sich dazu berechtigt, Deutschland Heimatland des Surrealismus zu nennen. Dies jedoch ohne Einverstandnis der Franzosen : fur sie war Klee hochstens einer der "Vorlaufer des Surrealismus" (Andre Breton). Von deutscher Seite hiess die Devise : Klee als Surrealist gegen die Vorherrschaft der franzosischen Kunst ins Feld fuhren. Gewagt wurde dieser verspatete Prioritatsanspruch allerdings nicht aus bornierter Arroganz im Stil etwa der unter national-sozialistischer Federfuhrung stattgefundenen Aussstellung "Entartete Kunst" (1937), sondern aus dem durch das soziale und kulturelle Ohnmachtsgefuhl sensibilisierten Krisenbewusstsein der deutschen Kuntszene.
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Hiroko KATO
Article type: Article
1993 Volume 44 Issue 3 Pages
23-33
Published: December 31, 1993
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Novalis erfuhr literarische Anregung durch Goethes Wilhelm Meisters Lehrjahre An diesem Buch hat Novalis eigene Vorstellung von Roman gebildet. Zugleich ist Heinrich von Ofterdingen auch der Versuch, dem Roman Wilhelm Meister eine romantische Konzeption entgegenzustellen. Wahrend der Arbeit an seinem Roman verfasste Novalis heftige Kritik am Wilhelm Meister zur Selbstverstandigung. In den Fragmenten untersucht Novalis die Urhandlung. Zuerst konstituiert sich die Urhandlung selbst. Dann muss sie kraft ihrer Selbstkonstitution auf Etwas gehen. Wir sehen die Urhandlung sich selbst als Gegensatz zur "intellektualen Anschauung" konstituieren, dann schreiten wir zur "intellectualen Anschauung" fort. In Heinrich von Ofterdingen versuchte Novalis ein Farbenspiel. In dem Buch, die blaue Blume ist "intellectuale Anschauung".
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Hidemichi TANAKA
Article type: Article
1993 Volume 44 Issue 3 Pages
34-45
Published: December 31, 1993
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Following Winckelmann, Riegl, Wolfflin, Dvorak and Focillon established the concept of change of style in Western Art. Each of terms Archaism, Classicism, Mannerism and Baroque explains a development of the style of art, which can be adapted and applied to the Greek period (from 6th century to 12nd century), to Romanesque and Gothic period (11th c. to 15th c.) and to the Italian period (14th c. to 14th c.). It is possible to say that the appreciation of the style in a criterium of the history of art, which is independent of political history. Does there exist a development of Style in Japanese Art History? Art historians in Japan survey art with the names of political periods but my recent research of style makes notice the artistic styles from the 7th century to the 14th century in his Buddhist art. In the 7th century, or Asuka period the statues of Kudara and of Guze (Nara, Horyu-ji Temple) show Archaisme in their styles and smiles. In the 8th century with the sculptures of Todai-ji and Kofuku-ji, and the paintings of the main building or of the Kondo, Horyu-ji Temple remark the style of Classicism, which is based on the senses of serenity, stability and humanity. And in the 9th century a tendency toward Mannerism appears, which is seen in the statues of the Toji Temple, Kyoto, or sculptures of the Jocho-style, and in the paintings of Esoterc Buddhism. Stylisation, exaggeration and intellectualism are observed as style. And in the middle of the 12th century we find a new style with the rise of the Samurai class : Baroque art, which expressed the characters of realism, movement and strength. From the 15th century, as with modern art in Europe, subjects of art are diversified, with the appearance of Yamato-e and Sansui-zu in the Muromachi period, and with the decorative Kano-style, the Korin-style, the "impressionist" Bunjinga-style, and the Ukiyo-e in the Edo period (from the 17th to the 19th centuries).
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Article type: Appendix
1993 Volume 44 Issue 3 Pages
46-48
Published: December 31, 1993
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Katsutoshi MATSUHISA
Article type: Article
1993 Volume 44 Issue 3 Pages
49-
Published: December 31, 1993
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Yoko HARADA
Article type: Article
1993 Volume 44 Issue 3 Pages
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Published: December 31, 1993
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Mimiko SHIBATA
Article type: Article
1993 Volume 44 Issue 3 Pages
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Published: December 31, 1993
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Seiichi MATSUMOTO
Article type: Article
1993 Volume 44 Issue 3 Pages
55-
Published: December 31, 1993
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Kiyoshi TANABE
Article type: Article
1993 Volume 44 Issue 3 Pages
57-
Published: December 31, 1993
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Hiromasa KANAYAMA
Article type: Article
1993 Volume 44 Issue 3 Pages
58-
Published: December 31, 1993
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Naohiro KIMURA
Article type: Article
1993 Volume 44 Issue 3 Pages
59-
Published: December 31, 1993
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Hikaru OGAWA
Article type: Article
1993 Volume 44 Issue 3 Pages
61-
Published: December 31, 1993
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Eisuke TSUGAMI
Article type: Article
1993 Volume 44 Issue 3 Pages
62-
Published: December 31, 1993
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Hiroko KATO
Article type: Article
1993 Volume 44 Issue 3 Pages
63-
Published: December 31, 1993
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Tomohiro TAKANASHI
Article type: Article
1993 Volume 44 Issue 3 Pages
64-
Published: December 31, 1993
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Osamu MORIYASU
Article type: Article
1993 Volume 44 Issue 3 Pages
66-
Published: December 31, 1993
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Takashi HIROTA
Article type: Article
1993 Volume 44 Issue 3 Pages
67-
Published: December 31, 1993
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Toshihiro OSADA
Article type: Article
1993 Volume 44 Issue 3 Pages
68-
Published: December 31, 1993
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Akihiro OZAKI
Article type: Article
1993 Volume 44 Issue 3 Pages
69-
Published: December 31, 1993
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Tadao KAIZU
Article type: Article
1993 Volume 44 Issue 3 Pages
73-
Published: December 31, 1993
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Teruaki AIZAWA
Article type: Article
1993 Volume 44 Issue 3 Pages
74-
Published: December 31, 1993
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Takeshi ISHIKAWA
Article type: Article
1993 Volume 44 Issue 3 Pages
75-
Published: December 31, 1993
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Article type: Appendix
1993 Volume 44 Issue 3 Pages
77-
Published: December 31, 1993
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Article type: Appendix
1993 Volume 44 Issue 3 Pages
77-
Published: December 31, 1993
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Article type: Appendix
1993 Volume 44 Issue 3 Pages
77-
Published: December 31, 1993
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Article type: Appendix
1993 Volume 44 Issue 3 Pages
77-
Published: December 31, 1993
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Article type: Appendix
1993 Volume 44 Issue 3 Pages
78-
Published: December 31, 1993
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Article type: Bibliography
1993 Volume 44 Issue 3 Pages
79-
Published: December 31, 1993
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Article type: Bibliography
1993 Volume 44 Issue 3 Pages
79-
Published: December 31, 1993
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Article type: Bibliography
1993 Volume 44 Issue 3 Pages
80-
Published: December 31, 1993
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Article type: Cover
1993 Volume 44 Issue 3 Pages
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Published: December 31, 1993
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Article type: Cover
1993 Volume 44 Issue 3 Pages
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Published: December 31, 1993
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