其他标题：Our Images of ≫Bauhaus≪ in Japan are Really Exact Images ? The Impact of Concrete and Realistic Images of Bauhaus by R.Wick's Work ≫Bauhaus Padagogik≪(1982)
摘要：After the middle of the 1960s in (West) Germany, academic interpretation of Bauhaus has changed from idealistic understanding, depended on the manifest of Bauhaus and W.Gropius, to realistic one. In this paper, two points will be investigated, owing to the R.Wick's works, which offered in 1982 and 1984. The one is, a) how Bauhaus teacher-artists kept having their interests in fine arts, under the overwhelming pressure of scientific and technological age in the 1920s. The other is, b) how they introduce young generation into modern points of view about expression through its Vorlehre (elementary introduction course for artistic expression) in Bauhaus. About point b), the work of Wick and the testimony of A.Ehrhard (Gestaltungslehre. 1932, introduced into the field of Kunstpadagogik by G. Otto at the beginning of the 1960 s) show us next matters 1), 2), 3). 1) The education in Vorlehre in Bauhaus was composed by theories and points of views in which we can't expect complete ones. 2) The view point that expression is constructed by the fundamental ideas for composition grasped by the contact with materials (which means materials itself and subject matters appeared through materials) was one of the most important findings. And 3) in this meaning, the artistic and ≫ kunstpa dagogisch ≪ meaning of this Vorlehre exists in the following conception: When young people find out the fundamental ideas for composition by himself, the act of production-expressions appears naturally constructive in the experimental and researching process based on material-experiences and material-studies. Fundamentally, the act of production-expression was produced not only by the skills, knowledge and theories which were taught or inherited from his master, but also by the discovering-experiences of simple matters like contrast, balance, movement, and emergencies of spaces. The experiences of this discoveries through materials make a young generation realize that the act of production - expression is nothing but the one ≪a composer≫. That is the key point of education which Bauhaus offered to young fresh men in their first years of this school.
其他摘要：After the middle of the 1960s in (West) Germany, academic interpretation of Bauhaus has changed from idealistic understanding, depended on the manifest of Bauhaus and W.Gropius, to realistic one. In this paper, two points will be investigated, owing to the R.Wick's works, which offered in 1982 and 1984. The one is, a) how Bauhaus teacher-artists kept having their interests in fine arts, under the overwhelming pressure of scientific and technological age in the 1920s. The other is, b) how they introduce young generation into modern points of view about expression through its Vorlehre (elementary introduction course for artistic expression) in Bauhaus. About point b), the work of Wick and the testimony of A.Ehrhard (Gestaltungslehre. 1932, introduced into the field of Kunstpadagogik by G. Otto at the beginning of the 1960 s) show us next matters 1), 2), 3). 1) The education in Vorlehre in Bauhaus was composed by theories and points of views in which we can't expect complete ones. 2) The view point that expression is constructed by the fundamental ideas for composition grasped by the contact with materials (which means materials itself and subject matters appeared through materials) was one of the most important findings. And 3) in this meaning, the artistic and ≫ kunstpa dagogisch ≪ meaning of this Vorlehre exists in the following conception: When young people find out the fundamental ideas for composition by himself, the act of production-expressions appears naturally constructive in the experimental and researching process based on material-experiences and material-studies. Fundamentally, the act of production-expression was produced not only by the skills, knowledge and theories which were taught or inherited from his master, but also by the discovering-experiences of simple matters like contrast, balance, movement, and emergencies of spaces. The experiences of this discoveries through materials make a young generation realize that the act of production - expression is nothing but the one ≪a composer≫. That is the key point of education which Bauhaus offered to young fresh men in their first years of this school.
