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| Thesis|Thinking on Space Art|Glossary

Glossary for Thinking on Space Art 2


Written and translated by Taketoshi Murayama

Original translation is rewritten by Michiko Takahashi Christofis


 The field


The ideal or real place where a painter comes across an object which becomes the theme of his work. The painter doesn't take up whatever he sees as the subject-matter without deep thinking. When he encountered an object which stimulates his creative urge, he sublimes it into a work. This act is similar to love. As the painter produces more and more works, in due time the field will be fixed to a specific place.

(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)


  The world


A special term used in this paper. The artist does not use all phenomena around him/her as materials of expression. Firstly filtering the phenomena with his/her own experience, then choosing an especially meaningful case out of those phenomena, he/she arranges it in his/her work. This arrangement, however, is not a disordered enumeration; it partially undertakes a rule made in the actual world, and relocates the materials along the rule. In this sense, the world which an artist creates in his/her work has a similar structure with the actual world, and it seems to be a mutation of the actual world in a broader sense. Therefore, it is reasonable to regard the world reorganized originally by an artist in his/her work as an inevitable accompaniment of his/her creation, further as an essential element dictating his/her character and act. Therefore, we have decided to give a special artistic meaning to the word, " the world ".

 Incidentally, abstraction paintings, dodecaphonic music, anti romance novels and other arts arrange the materials according to a rule severed from the composition of the actual world. They merely refuse traditional arrangements fixed by customs and average gusto of the multitude people, but are all the same mutations of the actual world, since they certainly reproduce a part of arrangements according to physical natural order.

(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 Walter Benjamin


(1892-1940)    German novelist, literary critic

Benjamin is known for cool-headed study and review on urban civilization appeared in the beginning of the 20th century on the basis of broad knowledge from antiquity until today, combining Marxian materialism and Judea mysticism. Instead of building a systematical theory, he developed his thought in the form of essay filled with caricature. He is generally considered as a member of Frankfurt school which tried to reinforce and develop Marxism by introducing a viewpoint of independent role of human being into it.  Such a point of view, however, may not be appropriate because in fact no tendency towards cultural science or social science is found with him. Born into a rich Jewish family in Berlin, he was committed poison suicide to escape persecution by the Nazis.

(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)



Louis XIV

In 1664, French king Louis XIV (1638-1715) put all fine art schools and exhibitions under the control of the royal family in order to obtain the governmental supervisory authority over fine art; this is how "the royal academy of painting and sculpture (Academie royale de peinture et de sculpture)" was established. The academy ranked the value of picture theme and organized fine art education by establishing the curriculum for acquirement of technique in opposition to the guild. Further, the academy held " salon " exhibition and founded Prix de Rome to honor fine artists, with the aim of leading them under the state control. But ironically enough, works and movements that would actually develop the fine art history mostly came from outside of the academy in the form of resisting it.

Attaching importance to the theory, the academy tried to bring up " the artist " that makes a clear distinction from the workman of the guild. But as far as putting emphasis on the education of technique acquirement, academyfs operation did not differ from the guildfs upbringing of the workman qualitatively. However, not a few public appreciators who did not know how to appraise artworks of emerging trends rested on the works endorsed by the academy, and thus the academy maintained its authority.

(cf. Glossary of "The World of Teruo Sato")


(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)



(1081-1151)     French minister



Suger served abbot of Saint Denis abbey with Order of Saint Benedict where the official tomb of French royal family had been juxtaposed since Capetiens. Showing stronger zest for service to earthly power than for service to God, he intended to combine religious ardor uplifted then by Crusade expedition with the enhancement of French royal familyfs prestige. As a result, he reconstructed historic Saint Denis abbey established in the Merovingian times, and adopted stained glasses. Besides, he produced a new architecture which had huge perpendicular inner space by extending vault, which was limited to the upper part of Chancel, to Nave and Aisle. Whatever his political motive was, the new style produced by his evident aesthetic sense occupied a prominent position known as Gothic architecture in the fine art history.


(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

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