This is a sequel to two earlier papers which appeared consecutively in "Bijutsukyoikugaku" no. 19 and no. 20. The theme studied in the third paper is "surface. "It's one of the principal subjects on modulation between two seemingly contradictory modalities:representation and abstraction. Because of great historical accumulation, this theme covers actually so many cases of theory and practice that the author must narrow down the range of study. Consequently the following five subitems are reflected here. (1)illusion and physical surface, (2)surface covered with colors, (3)juxtaposition of various types of aplat, (4)reconsideration on landscape, and (5)superiority of touches. After summarily showing the author's opinion as a premise on "surface" in various children's pictures, in the first subitem, he proposes an unseparable relationship between recognizable imagery and physical presence as a unique characteristic of painting. He compares Rembrandt's two works and introduces Nancy W. Berry' s teaching program for analytical observation of Goya' s work. A thematic aspect where two elements(representation and abstraction)are intertwined is more developed in the second subitem in terms of Maurice Donis' famous definition of painting as surface covered with colors. Related to this issue, abstract quality of aplat(a plane painted flat by one color)is interpreted in the third subitem. Paul Gauguin's works in Cloisonistic form are mainly spotlighted as excellent examples through (2) and (3). Quasi-abstractness of landscape is the theme in the fourth subitem. Paul Serusier's Talisman introduced as an example is a repertoire of varied physical presence like fragmentary touches, vivacious brush strokes, many types of aplat interestingly juxtaposed etc. Some children's works which are relevant to the matter are also examined here. The fifth subitem deals with allover condition filled by numerous subdivided touches. In this case, viewers might experience space rather than figures. The author picks up Edouard Manet who created "painture cleire" and Claude Monet who had an inclination for both nonfigurativity and tremendous tangibility. Additionally, he makes reference to students'peculiar works. The matters of Paul Cezanne's well-organized modulation of colorful short touches, relieflike space of Analytique Cubism, experiments of papier colle and so on will be approached in the next paper.

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The age when Katherine Mansfield (1888-1923) had lived her short line and written many short stories as a writer, was also that of later period of prevalance of Japonisme in the Western world. In her works called New Zealand stories, we can find several Japanese goods and plarnts; Japanese umbrella, Japanese cosy, kimono jacket, Japanese sunflower and so on. It seems that these were mainly results of the spread of Japonisme from Britain to New Zealarnd, the colony, and to the Beauchamps, her parents' home. And her liking for Japanese goods and taste were held for life. We can find many evidences in her journal and letters. In her literary works, thirngs Japanese are sometimes used simbolically and suggestively, sometimes used merely as one of details of the background. Generally speaking, it seems that her acceptance remained on a stage of Japonaiserie. But she was influenced indirectly by sophisticated Japonisme through artistic works of Post-impressionists who also accepted Japonisme and created new Expressionism. Prior to taking her way to be a writer, she read THE BOOK OH TEA (1906) of Okakura-Kakuzo (1863-1913) in Wellington. Having read this book, she woul'd have comprehended basic principles of Japonisme, and accepted important suggestions for her literary creation.

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