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Volume 55 (2004)
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Volume 55, Issue 4
Displaying 1-16 of 16 articles from this issue
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Article type: Cover
2005 Volume 55 Issue 4 Pages Cover1-
Published: March 31, 2005
Released on J-STAGE: May 22, 2017
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Article type: Cover
2005 Volume 55 Issue 4 Pages Cover2-
Published: March 31, 2005
Released on J-STAGE: May 22, 2017
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Article type: Appendix
2005 Volume 55 Issue 4 Pages App1-
Published: March 31, 2005
Released on J-STAGE: May 22, 2017
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Article type: Appendix
2005 Volume 55 Issue 4 Pages App2-
Published: March 31, 2005
Released on J-STAGE: May 22, 2017
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Tomoyuki KAWASEArticle type: Article
2005 Volume 55 Issue 4 Pages 1-14
Published: March 31, 2005
Released on J-STAGE: May 22, 2017
JOURNAL FREE ACCESSDans la Phenomenologie de la perception, Merleau-Ponty dit que seul le langage se sedimente et que dans la peinture, il ne trouve pas d'element commun correspondant aux mots dans le langage. Cela revient a dire que la reciprocite entre l'expression du present et celle du passe possible dans le langage n'existe pas dans la peinture. Cependant, dans La prose du moude et "Le langage indirect et la voix du silence", il tire des oeuvres de Malraux la notion de style commun entre diverses peintures. De la, il en conclut la relation mutuelle entre les peintures. Les peintures du passe ouvrent une dimension et celles du present reprennent le style apparu dans les precedentes. Il y a, selon Merleau-Ponty, <<1'histricite de vie>> qui existe dans l'acte meme de peindre. En outre, la peinture vient occuper une place importante dans sa pensee car, tandis qu'a l'epoque de la Phenomenologie de la Perception, il n'avait pas suffisamment traite la relation entre la perception et l'histoire, mais apres, grace a la corporeite du peintre, pour Merleau-Ponty, la peinture est devenue un domaine privilegie pour traiter de 1'histoire qui s'enracine dans la perception.View full abstractDownload PDF (1205K) -
Kaoru TAKAKUArticle type: Article
2005 Volume 55 Issue 4 Pages 15-28
Published: March 31, 2005
Released on J-STAGE: May 22, 2017
JOURNAL FREE ACCESSThe purpose of this paper is to consider why Paul Gauguin frequently used equestrian motif from 1898 and what its symbolic meanings are, and to show a visual source of the back-rounded equestrian in three important paintings, <<The White Horse>>, <<FAA Iheihe>>, and <<Rupe Rupe>>. One reason is that for Gauguin of 1898-99 the motif implied his happy childhood in Peru and symbolized the primitive state of himself. The idea probably developed from conclusion of a book titled A Book of the Beginnings, vol. 1, by Gerald Massey. Among his memories in childhood, riding a wooden horse particularly must have provided him an important inspiration. This can be inferred from the following passage from Diverse choses, "As for myself, my art goes way back, further [back] than the horses of Parthenon all the way to the dear old wooden horse of my childhood". The other reason is that travel journals by Edouard Petit and Eugene Girardin probably led to romantic primitivism for horse-riding in the South Seas to some of the French colonists in Polynesia, including Gauguin, in the late 19th century. As to a visual source of the equestrian, it may be derived from Delacroix's lithogragh, <<Negre a cheval>> (1823).View full abstractDownload PDF (1177K) -
Takashi HIROTAArticle type: Article
2005 Volume 55 Issue 4 Pages 29-41
Published: March 31, 2005
Released on J-STAGE: May 22, 2017
JOURNAL FREE ACCESSTakeuchi Seiho was a contemporary sketch artist as declared by his motto, "Shasei and Shohitu" Shohitu were a major feature of his sketches, and he insisted upon their use. This style came from the traditions he inherited through his studies. Seiho found employment drawing Yuzen-shitae at Takashimaya, where he met Kishi Chikudo. Chikudo actually sketched drawings such as tigers from real life, rather than imagination. This must have strongly influenced Seiho at the time since Chikudo, his senior, advised him on his art. By Chikudo' adovises, Seihou rediscovered realistic presentation in the tradition of Kyoto-school. During the Paris International Exposition in 1900, the 33rd year of Meiji, Seiho learned how to draw animals from real life in Europe. Afterwards, he returned to Japan, having sketched a lion in this fashion. The following year, his work, Shishi (Lion,) displayed the establishment of Seiho's contemporary sketch technique. Thanks to the encounter with Chikudo at Takashimaya, Seiho seemed to establish his own style of sketching.View full abstractDownload PDF (1048K) -
Kyoko OKUBOArticle type: Article
2005 Volume 55 Issue 4 Pages 42-55
Published: March 31, 2005
Released on J-STAGE: May 22, 2017
JOURNAL FREE ACCESSThe date of "completion" of the original maquettes of Jazz has been considered to be 1944, mainly due to three letters of Matisse, in spite of the date, juillet 1946, written in the maquettes. What is the meaning of this delay? The connection between Matisse and Surrealisme contributed in establishing the artistic environment around him from the 1930's. It changed Matisse's artistic view from static to dynamic, especially the concept of signe. Furthermore, the method of paper cut-out accelerated this tendency. Matisse's interest in Bergson in Jazz explains the dynamic character. In 1942, Matisse finished Themes et variation. The central idea is a series along the same theme, with the same model. The connection between the drawings gives the figure a Bergsonian duree. In Jazz Matisse created signes from his memories. He used his intuition to be united with the objects, and realized the inherent duree, which was built right into the process of this work. This is the reason for the delay in working on the maquettes. The duree produced by this delay is the indispensable character in the completion of Jazz founded on the correlation between the maquettes and the texts.View full abstractDownload PDF (1265K) -
Yubii NODAArticle type: Article
2005 Volume 55 Issue 4 Pages 56-69
Published: March 31, 2005
Released on J-STAGE: May 22, 2017
JOURNAL FREE ACCESS1921 schuf Paul Klee zwei Schriftbilder mit Vers 2-3 aus dem 1. Kapitel des Hohen Liedes, wobei er eine Nachdichtung seines Vaters Hans benutzte. Die Komposition und die bildnerischen Elemente der Schriftbilder werden unter Berucksichtigung der Werke Hans Klees und auf sie bezogener Materialien analysiert, die bisher nicht ausfuhrlich behandelt wurden. Mit seinem Vater teilte Klee bis zu einem gewissen Grad die Beschaftigung mit Asien und dem Orient sowie mit Literatur und Musik, die wesentlich zur Konzeption der Schriftbilder beitrug. Im ersten Schriftbild wird die Lautfolge des Textes sichtbar, indem Klee bestimmte Farben auf bestimmte Vokale bezieht. Damit wurde es zu einem Ausgangspunkt abstrakter Werke, denen eine musikalische Theorie zugrunde liegt. Das zweite Schriftbild weist starker illustrative Zuge auf und interpretiert zugleich den Inhalt des Gedichts ausgehend von einer modernen Deutung des Hohen Liedes als Liebesdichtung. So reflektiert es eine damalige Theorie Klees, namlich das dynamische Gleichgewicht des Dualismus von Mann und Frau. In beiden Schriftbildern schlagen sich erfolgreich das kunstlerische Denken des Malers und die mit ihm verbundenen Experimente um 1920 nieder.View full abstractDownload PDF (1195K) -
Mariko MIKAMIArticle type: Article
2005 Volume 55 Issue 4 Pages 70-83
Published: March 31, 2005
Released on J-STAGE: May 22, 2017
JOURNAL FREE ACCESSYayoi Kusama herself is not a minimalist, but she did have contact with minimal artists such as Donald JUDD and Eva HESSE. Judd praised Kusama's Infinity Net Paintings from the start, especially her obsessional repetition. According to Judd, the new art trend of the 60s were represented by three-dimensional works which were neither paintings nor sculptures. Kusama's Compulsion Furniture was one of them and Judd himself was making such works. On the other hand, Michael FRIED attacked minimal art because Specific Objects, as Judd had called them, had objecthood, and even though one looks at such works which depend on installation, all the viewer can feel is his or her own duration. Then, what kind of time can we experience by appreciating Kusama's works? Comparing Kusama's works with Hesse's ones and so on, the relation of repetition and time is explained in order to describe the originality of Kusama's works.View full abstractDownload PDF (1076K) -
Article type: Appendix
2005 Volume 55 Issue 4 Pages 84-
Published: March 31, 2005
Released on J-STAGE: May 22, 2017
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Article type: Appendix
2005 Volume 55 Issue 4 Pages 85-
Published: March 31, 2005
Released on J-STAGE: May 22, 2017
JOURNAL FREE ACCESSDownload PDF (41K) -
Article type: Appendix
2005 Volume 55 Issue 4 Pages 85-
Published: March 31, 2005
Released on J-STAGE: May 22, 2017
JOURNAL FREE ACCESSDownload PDF (41K) -
Article type: Bibliography
2005 Volume 55 Issue 4 Pages 88-86
Published: March 31, 2005
Released on J-STAGE: May 22, 2017
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Article type: Cover
2005 Volume 55 Issue 4 Pages Cover3-
Published: March 31, 2005
Released on J-STAGE: May 22, 2017
JOURNAL FREE ACCESSDownload PDF (33K) -
Article type: Cover
2005 Volume 55 Issue 4 Pages Cover4-
Published: March 31, 2005
Released on J-STAGE: May 22, 2017
JOURNAL FREE ACCESSDownload PDF (33K)
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