世阿弥の能楽思想と美的実存(大会報告)
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概要
- 論文の詳細を見る
This report aims at characterizing Ze-ami, the founder of Noh-Play, as a kind of aesthetic existence in view of comparative aesthetics. For this purpose I have chiefly paid my attention to Kadensho and Kakyo among his many treatises on Noh-Play, because the former contains the thought of Noh in his earlier days and the latter represents one in his later days. The most important subject of Kadensho is explanation of 'hana' (flower) which is regarded as a stage effect. Various meanings are given by the author to 'hana', bu three conspicuous features will be found therein-'yugen' (graceful beauty), 'omoshirosa' (amusingness) and 'mezurashisa' (novelty). Some of the treatises of performance in Kadensho tell that the author did his best to enact 'hana', especially 'omoshirosa' and 'mezurashisa' on the stage of contest, which shows that Ze-ami's aesthetic existence is basically conditioned by a kind of 'being-for others' in Sartre. As he gets older, however, there appears remarkable change in his aesthetic consciousness which is clearly shown in Kakyo where 'yugen' is explained as another characteristics of beauty, i.e., 'hie' or 'sabi' (profound beauty as oxidized silver), permeating deep into the world of emptiness. This change of aesthetic consciousness is regarded as basically conditioned by the awareness of 'absolute nothingness' in Zen which is simillar to, Transcending to Being' or 'Standing in the openness of Being' in Heidegger. Therefore 'being-for transcendence' is regarded as the core of the aesthetic existence in his later days.
- 美学会の論文
- 1968-12-30