Im vierten Abschnitt der "dionysischen Weltanschauung" (1870) betrachtet Nietzsche die Musik als eine Art von Sprache. Von diesem Standpunkt aus vergleicht er die Musik als Tonsprache mit der Begriffssprache als Sprache im engeren Sinn, und zwar in betreff ihrer Mitteilungsgegenstande und Mitteilungsweisen im Rahmen der Zweiweltenphilosophie Schopenhauers. In "Uber Musik und Worter" (1871) kritisiert Nietzsche hingegen die Zweiweltenphilosophie Schopenhauers und versucht, die Musik unter einer anderen Pro bemstellung zu behandeln. Die Entdifferenzierung der Musik und Sprache geht in "Ueber Wahrheit und Luge im aussermoralischen Sinne" (1873) vorwarts, indem der Entstehungsprozess der Sprache ans Licht gebracht wird. Trotz der Verwandtschaften bleibt jedoch der unubersehbare, wesentliche Unterschied zwischen Musik und Begriffssprache ubrig. Es ist die besondere Mitteilungsweise der Musik, die einen solchen Unterschied erzeugt.

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In der vielen philosophischen Schriften Kitaro Nishidas (1870-1945) kann man keine zusammenhangende Asthetik oder Kunstlehre finden. Einige ihrem Titel nach so angesehene Kunstlehren sind nicht eigentliche, weil nicht originale, Kunstlehren, sondern hochstens Weiterentwicklungen seines philosophischen Ansatzes. Indessen finden sich Bemerkungen uber die "Kunst" uberall in seinen philosophischen Schriften, von seiner allerersten Schrift "Uber das Gute (Zen no Kenkyu)" (1911) bis zu einer grossen Anzahl von Aufsatzen in seinen letzten Jahren. Das erweist schon eine innere Beziehung zwischen seiner Philosophie und der "Kunst". In der Tat stellt Nishida einige seiner wichtigsten philosophischen Standorte, vor allem den vom "Selbstbewusstsein (Jikaku)" des Wollens und den der "handelnden Anschauung (Koiteki Chokkan)" in Analogie zur Struktur der "Kunst" auf. In dieser Abhandlung versuche ich das nachzuweisen, indem ich die Beziehung der Nishida-Philosophie (Nishida-Tetsugaku) zur Kunsttheorie Konrad Fiedlers (1841-1895) untersuche, die Nishidas "Kunst"-auffassung entscheidend beeinflusste. Als Ergebnis dieses Versuchs lasst sich der Standpunkt vertreten, Nishida-Philosophie im Ganzen als "Kunstlehre" zu betrachten. Und diese "Kunstlehre" kann das Prinzip erhellen helfen, das den heute zunehmend vielgestaltigen kunstlerischen Phanomenen oder Kunstschopfungen zugrunde liegt.

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During the Edo-period, leading officially employed painters in KUMAMOTO prefecture belonged to the YANO-school (comprised the SESSHU school). SIGEYASU (1673∿1752), the 3rd of YANO family, was learned one year for changing to KANO style from YANO style in 1712. But the changing to KANO style was unsuccessful, and SHIGEYASU was declared that the YANO family continue SHIGEYASU only, and stop the YANO school. However, A pupil YASUYOSHI (SESSO, 1714∿77) succeeded officially employed painters and 4th of YANO family. He apointed the chief officially employed painters and reoccupied leader of them, and reestablished a definite SESSHU style. His son YOSHIKATSU, the 5th of YANO family, also succeeded SESSO style, and sometimes used a seal "The legitimate succeor to SESSHU", and boasted about SESSHU school. It seemd that main feudatories tended to like the SESSHU style, and their taste concerned with the return to SESSHU style deeply.

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If we consider Ko-daiji-makie the typical makie of the Momoyama period, and Hatsune-no-chodo of the early Edo period, it would be a very tough work to find out the direct succession in them. Then, in thesis, I paid attention to the taat the classification of the makie works into sin, gyo and so existed at that time, and studied mainly the evolution of the design of makie which could be recognized to be so-tai (informal style) because of its material and technique. I could say that the design of makie of the Momoyama period was unconventional in the point its screen was made by combining the motif like flowers both vertically and horizontally one after another. In the early Edo period, some artisans began to draw the familiar daily things besides flowers, and the composition of the design became the intelligent one that was conscious of unity of a whole receptacle. In other words, the design suited for a big screen changed into the one for a small screen. That also implied small works such as netuke or inro was going to shoulder the leading part of makie afterwords.

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The influence of Flemish landscape on the Italian painting is well known. It affected particularly the composition of Florentine painting in the 1470s. While the genuine innovation of Florentine painting consists in the objective representation of the human body and perspective, Flemish painting establishes the landscape as a Folie in which the figures in the foreground stand out. The introduction of such a landscape into Florentine painting is testified to by one of Botticelli's early works : the background of the London Adoration of the Magi borrows directly from the landscape of the valley in S. Francis receiving the Stigmata by Jan van Eyck. Many Florentine painters of the time seem to have copied from the Flemish landscape in their studios, since they left few sketches based on the study of nature. Therefore, Verrocchio's Baptism of Christ in the Uffizi may be presumed to have been executed by the same process. There were affinities between Flemish painting and Florentine painting, with each compensating for its own weakness with the other's advantage. The Flemish landscape, too, was a complement to Florentine painting. In conclusion, the landscape as Folie established by Jan van Eyck was useful Florentine istoria compositions produced from the 1480s onwards.

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