| Co-Investigator(Kenkyū-buntansha) |
IDE SEINOSUKE TOKYO NATIONAL RESEARCH-INSTITUTE OF CULTURAL PROPERTIES,RESEARCH WORKER, 情報資料部, 研究員 (30168330)
OKABE KUNIKO GINKYO COLLEGE OF MEDICAL SCIENCE,LECTURER, 専任講師 (70160702)
SHIMOMURA KOUJI KYUSHU SANGYO UNIVERSITY,ASSISTANT PROFESSOR, 芸術学部, 助教授 (50069514)
KIKUTAKE JUNICHI KYUSHU UNIVERSITY,ASSISTANT PROFESSOR, 文学部, 助教授 (10000374)
KANESHIGE MAMORU MAGASAKI UNIVERSITY,ASSISTANT PROFESSOR, 教育学部, 教授 (40039433)
錦織 亮介 北九州大学, 文学部, 助教授 (80047729)
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| Budget Amount *help |
¥5,000,000 (Direct Cost: ¥5,000,000)
Fiscal Year 1987: ¥2,000,000 (Direct Cost: ¥2,000,000)
Fiscal Year 1986: ¥3,000,000 (Direct Cost: ¥3,000,000)
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| Research Abstract |
It is a historical fact, whether in the East or in the West, that until the modern ages fine arts was executed in the studio, where the artists worked together. Perticularly for the paintings, whether those works were executed in the studio or not, is one of the indexes which draw a line between middle ages and modern ages in the history of art. How that fact reflects the idea and the practice of the artistic activity? This is a theme of this study. In the first year we made much of the individual studies and collection of historical materials, and next year we were engaged on synthetic study and aesthetic consideration.This consideration reflects each study of this theme, and it is expected to bring deepend methodology, and also have thrown light upon the basic problem as the result of this synthetic study. In the first,how this studio-execution involved epistemology of beauty? In other words,aesthetics of studio is onthologic ornot? A positive study of Japanese artist's studio tells us following fact. Aesthetics of studio assumes that an object of execution is clear and it's method is fixed.
An inheritance of the paper model (object) and the paints (method) assume the exsistence of the studio which involves the fixation and the exclusiveness. However the superiority in skill brakes them, and makes us realize the depth of the aesthetic experence, and on the other side,the function of individuality. Inside and outside of a system of the studio, there exsists an sctivity above the fixation. In other words, (we can indicate that in sphere of the historical fact), aesthetics of studio, supposed th be onthologic, always implies epistemologic ground as far as it is the execution of art. Against this fact, the clearness of 'object' and 'method' makes us realize onthology of beauty also on the ground of modern epistemology.
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