“水墨画”(shui-mo painting) is the short term of“水暈墨章”which means watering the ink and describing the motifs through gradations of light and dark ink. This shui-mo painting has been changed and developed from the i-p'in style (untrammeled class) of the middle T'ang dynasty. Concerning the i-p'in style, nothing can be added to the essay written by Professor Shimada Shujiro. It can be imagined with ease that it had took time for the i-p'in style to develope into the shui-mo painting after much complications.
As Wilhelm Worringer said, the Chinese painting (I imagine) is indeed abstractive in part. However, following the similar painting process to that taken by Shiraga Kazuo, a member of Concrete Art Association (Gutai Bijutsu Kyokai), the abstract expressive style akin to the action painting represented by Jackson Pollok evolved to the abstract expression in the monochrome ink. This is one of the inevitabilities of the art history of T'ang dynasty. At the same time, to represent the figurations which the Chinese painting essentially had done and even the i-p'in style painting could not eliminate, the tonal variations were given to the monochrome ink through the technique of“水墨”(water-ink), which led to the shui-mo painting formulated in the beginning of Sung dynasty.

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Steve Reich (1936-), in his essay "Music as a Gradual Process" (1968), wrote that "a compositional process and a sounding music […] are one and the same thing." His aesthetic creed of "perceptible processes," indicated in these words, is known as the basic idea of minimal music. Although minimal music has been considered a counterpart of minimal art, this essay first appeared in the exhibition catalogue of "Anti-Illusion: Procedures/Materials" (Whitney Museum of American Art, 1969), an exhibition recognized as a threshold of postminimalism in the plastic arts. In this paper, I would like to clarify a linkage between Reich's music and postminimalist art in view of his involvement in the "Anti-Illusion" show. The theme of the "Anti-Illusion" show was to refocus on the process of making art. By emphasizing the processes and materials of the works, the participating artists tried to deny illusion and expose the reality of art. Among these works, Reich performed his Pendulum Music, in which he made the sounding process visible as microphones' swinging. This piece clearly demonstrates that Reich's claim in "Music as a Gradual Process" was propounded in connection with postminimalist art as an attempt to disclose musical processes and reveal the real.

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In this thesis, I aimed to establish a viewpoint as to art education that reconsiders the educational methods concerning art appreciation by reevaluating Herbert Read's art education philosophy. I analyzed his views by comparing his Education through Art with Education through Art: Restatement. As a result, I discovered his emphasis on the activity of "seeing", his viewpoint on "expression and appreciation". A viewpoint that goes beyond the "expression vs. appreciation" debate on today's education of art appreciation may be hiding behind Read's art education philosophy.

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Disengagement with painting, recurrent throughout the avantgarde art history, find its various manifestations in the 1960s American art. They allegedly attempt to restore the corporeal dimensions of aesthetic experience, questioning the idea of modernist pure opticality. The body itself, however, goes through curious changes. In the practices of minimal art that expel illusionism and anthropomorphic naturalism, a physical experience of the viewer becomes essential to the theatrical presence of the art object, whereas the body to be represented or projected in the work must disappear. And it does so more thoroughly with raw, unformed, mutable materiality in post-minimal art. The performance art of the same period places emphasis on one's experience of one's own body, rather than the body as a visible form/spectacle. The role of the artist's body also changes, as the discourse of technology enters into art-making. The body trained and structured as an expert within a certain tradition is no longer valued ; instead, the artist's body internalizes more and more technological prostheses, thus approximating the status as the cyborg.

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本研究はキャンパスプラザ京都で2002・2003年両年度に開催された芸術系大学学生作品展を事例とする、芸術展示デザインのパレルゴン析出の試みである。研究は形態分析・深層分析を併用するものである。分析ではアンケート自由回答を総休として扱い、個々人の資質に帰さない普遍的な分析結果を求めている。統計学を援用する形態分析からは、1)この展覧会の規模と演示のカテゴリーにおいて不満が強いことが示された。次に精神分析学を援用する深層分析からは、2)この研究事例におけるデザインのパレルゴンのひとつとして結界が析出された。3)このパレルゴンは展示するものに論理的にさし向けられる、他者の無意識的な言説によって画定されるものであることが分かった。そして両年度における結界を巡る言説意味内容の考察から、4)このパレルゴンは他者の無意識的な言説の意味内容が論理的・無矛盾であれば、その意味内容とは関係なく画定される可能性が示された。

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