清洗白象 - 美国大都会艺术博物馆展品查阅

品名（中）	清洗白象
品名（英）	Washing the White Elephant
入馆年号	1976年，1976.191
策展部门	亚洲艺术（Asian Art）
创作者	Chen Zi【1634 至 1711】【中国人】
创作年份	公元 1644 - 公元 1711
创作地区
分类	绘画（Paintings）
尺寸	图像: 34 5/16 x 15 1/16 英寸 (87.2 x 38.3 厘米) 整体 with mounting: 86 3/4 x 23 英寸 (220.3 x 58.4 厘米) 整体 with knobs: 86 3/4 x 27 1/4 英寸 (220.3 x 69.2 厘米)
介绍（中）	在绘画和书法方面，陈子沿袭了他父亲陈洪寿（1598-1652）的风格。然而，在模仿父亲的画作时，儿子将年长的陈巧妙多变的笔触转变为刻板的习惯。在这幅陈子五十岁时创作的卷轴中，人物夸张的特征和坚硬的窗帘图案保留了一种古色古香的感觉对这幅画主题的一种解释来自《正史墨苑》，这是一本墨饼设计目录，其中一幅类似的图像配上一首诗，暗示"扫大象"（saoxiang，中文）是一个谐音的双关语，意思是"扫除对虚幻图像的依恋"，这反映了木版印刷设计的影响，以及他对人物的漫画式处理，强调了他拒绝将外表作为精神力量的可靠标志。单色调色板和简化的仿古绘画风格进一步强调了这幅画的抗幻觉功能。与正统的宗教图像学相比，这幅画更关注艺术形式和效果，是陈时代学术精英中普遍存在的与佛教的智能化联系的恰当表达。
介绍（英）	In both painting and calligraphy, Chen Zi followed the style of his father, Chen Hongshou (1598–1652). In imitating his father's painting, however, the son transformed the older Chen's subtly varied brush mannerisms into hardened conventions. In this scroll, done when Chen Zi was fifty years old, the exaggerated features of the figure and the hardened patterns of the drapery retain a sense of hoary antiquity. One interpretation of the subject of this painting comes from the Zhengshi moyuan, a catalogue of ink-cake designs, where a similar image is accompanied by a poem that suggests that "sweeping the elephant" (saoxiang, in Chinese) is a pun for a homophone that means "sweeping away an attachment to illusory images." Chen's patternized composition, which reflects the influence of woodblock print designs, and his caricaturelike treatment of the figures emphasize his rejection of outward appearance as a reliable indication of spiritual power. The monochrome palette and simplified archaistic drawing style further emphasize the painting's anti-illusionistic function. More concerned with artistic forms and effects than orthodox religious iconography, the painting is an appropriate expression of the kind of intellectualized involvement with Buddhism prevalent among the scholarly elite of Chen's time.