MORI Ogai's Views on Fine Arts and Utakata no Ki : Creation of Picture of Lorelei by imagination

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In relation to Ogai's criticizing activities of the fine arts around the time Utakata no Ki was published, this paper is to point out that he wrote the work spurred by the dispute over the fine arts between TOYAMA Masakazu and himself, and to present a viewpoint to read it as an artist story based on HARTMANN's aesthetical views OGAI approved.Utakata no Ki's leading character KOSE was modeled after the painter HARADA Naojiro, with whom Ogai was on friendly terms since their stay in Munich. In the novel, the painter KOSE was at first copying pictures, but meeting a violet-selling girl, he obtained the theme of Lorelei and was led to complete the picture. Though the fortuitous meeting with Ludwig II deprived him of Marie's mortal frame, he got an "inspiration" while working in his atelier and completed his own "picture of Lorelei" by virtue of imagination obtained when he entered the stage of sublime spiritual madness. Ogai may have tried to urge the readers to recognize the imaginary picture of Lorelei by making KOSE follow this art creating process.It has been in question whether the "Picture of Lorelei" is completed or not in the last part of the story. However, when aesthetics was not yet developed, we may say, Ogai tried to send an aesthetical message towards TOYAMA, the story readers, and others in Meiji era's fine art world by way of Utakata no Ki. In other words, in Ogai's way of reading, the "Picture of Lorelei" is completed, and in TOYAMA's realizational way of reading, not completed. In the 20's of Meiji era, when the fine arts got promoted into systematization, Utakata no Ki was written with the aim of establishing aesthetics in Japan.

In relation to Ogai's criticizing activities of the fine arts around the time Utakata no Ki was published, this paper is to point out that he wrote the work spurred by the dispute over the fine arts between TOYAMA Masakazu and himself, and to present a viewpoint to read it as an artist story based on HARTMANN's aesthetical views OGAI approved.Utakata no Ki's leading character KOSE was modeled after the painter HARADA Naojiro, with whom Ogai was on friendly terms since their stay in Munich. In the novel, the painter KOSE was at first copying pictures, but meeting a violet-selling girl, he obtained the theme of Lorelei and was led to complete the picture. Though the fortuitous meeting with Ludwig II deprived him of Marie's mortal frame, he got an "inspiration" while working in his atelier and completed his own "picture of Lorelei" by virtue of imagination obtained when he entered the stage of sublime spiritual madness. Ogai may have tried to urge the readers to recognize the imaginary picture of Lorelei by making KOSE follow this art creating process.It has been in question whether the "Picture of Lorelei" is completed or not in the last part of the story. However, when aesthetics was not yet developed, we may say, Ogai tried to send an aesthetical message towards TOYAMA, the story readers, and others in Meiji era's fine art world by way of Utakata no Ki. In other words, in Ogai's way of reading, the "Picture of Lorelei" is completed, and in TOYAMA's realizational way of reading, not completed. In the 20's of Meiji era, when the fine arts got promoted into systematization, Utakata no Ki was written with the aim of establishing aesthetics in Japan.

収録刊行物

  • 大阪樟蔭女子大学学芸学部論集

    大阪樟蔭女子大学学芸学部論集 42, 1-8, 2005-03-08

    大阪樟蔭女子大学

各種コード

  • NII論文ID(NAID)
    110001138351
  • NII書誌ID(NCID)
    AA11643143
  • 本文言語コード
    ENG
  • 資料種別
    Departmental Bulletin Paper
  • 雑誌種別
    大学紀要
  • NDL 記事登録ID
    7701892
  • NDL 雑誌分類
    ZV1(一般学術誌--一般学術誌・大学紀要)
  • NDL 請求記号
    Z22-20
  • データ提供元
    NDL  NII-ELS  IR 
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