穗津寺树林、内川和Sekiya村 - 美国大都会艺术博物馆展品查阅

品名（中）	穗津寺树林、内川和Sekiya村
品名（英）	The Suijin Temple Grove, Uchikawa, and the Village of Sekiya
入馆年号	1914年，JP64
策展部门	亚洲艺术（Asian Art）
创作者	Utagawa Hiroshige【1797 至 1858】【日本人】
创作年份	公元 1857
创作地区
分类	印刷品（Prints）
尺寸	高 13 1/8 英寸 (33.3 厘米); 宽 8 11/16 英寸 (22.1 厘米)
介绍（中）	Hiroshige在这幅版画中使用了裁剪法，创作出了一幅令人震惊的抽象作品。窗口描述了一个半圆，而幕布的边缘形成了一排垂直的正方形，就像梯子一样。这种纯粹的几何结构赋予画面引人注目的图形力从本质上讲，艺术家在这幅画中创作了一幅半圆形的画，从而将外部空间与内部空间进行了对比。然而，后者非常小，因为房间的大部分内部都被裁剪掉了。尽管如此，宏志在照片的左边缘留下了足够的空间，让人联想到挂在窗户边的花架里的茶花的香味。与山茶花形成对比的是窗外的梅花这幅版画描绘了Masaki的一个场景，Masaki是江户的一个地区，有茶馆，游客在前往附近浅草同性恋宿舍的路上会顺便来这里。在隅田河对岸的窗外可以看到著名的穗津神社，那里供奉着旅行者的守护神。这条河的起点也因一个关于平安宫廷贵族Ariwara no Narihira的传奇故事而闻名。失去了在京都的职位后，奈良来到了这个地方，写了一首和合诗，讲述了他对一位留在京都的女士的绝望渴望。因此，这幅图像暗示了当代世界主义江户人的爱情的升华，他经常光顾茶馆和艺妓馆，这是指历史上更早的贵族的诗意爱情。
介绍（英）	Hiroshige's use of cropping in this print has resulted in a startling abstract composition. The window describes a half circle while the edge of the shoji screen forms a vertical row of squares like a ladder. This pure geometry gives the picture compelling graphic force. Essentially, the artist has created a half-circular picture within this picture and thereby contrasted outside space to inside space. The latter, however, is very minimal, for most of the inside of the room has been cropped out of the picture. Nonetheless, Hiroshige leaves just enough room along the left edge of the picture to suggest the fragrance of the camellia in the flower holder hanging by the window. Contrasted to the camellia, is the plum blossom outside the window. This print illustrates a scene in Masaki, which was a district of Edo with teahouses where visitors would drop in on their way to the nearby Asakusa gay quarters. Visible outside the window beyond the Sumida River is the famous Suijin Shrine, where the guardian deity of travelers is enshrined. This point at the river is also well known for a legendary story about the Heian court noble Ariwara no Narihira. Having lost his position in Kyoto, Narihira reached this spot and composed a waka poem concerning his desperate longing for a certain lady left behind in Kyoto. Thus, the image suggests the elevation of the love of the contemporary cosmopolitan Edo man, who frequents teahouses and geisha houses, by reference to the poetic love of a nobleman much earlier in history.