盲人的虚张声势：分散的《薄伽梵书》（毗湿奴勋爵的古代故事）中的一页 - 美国大都会艺术博物馆展品查阅

品名（中）	盲人的虚张声势：分散的《薄伽梵书》（毗湿奴勋爵的古代故事）中的一页
品名（英）	Blindman's Bluff: Page From a Dispersed Bhagavata Purana (Ancient Stories of Lord Vishnu)
入馆年号	1992年，1992.7.2
策展部门	亚洲艺术（Asian Art）
创作者
创作年份	公元 1705 - 公元 1730
创作地区
分类	绘画（Paintings）
尺寸	9 7/16 x 10 7/8 英寸 (24 x 27.6 厘米)
介绍（中）	在十八世纪，艺术家继续使用十七世纪Mewari绘画典型的鲜艳色彩，扁平形状，正面构图和风格化 - 但仅限于宗教和文学文本的插图，可能是因为旧风格被认为非常适合神话领域。从这张克里希纳童年游戏的照片中可以明显看出，十八世纪引入此类手稿画作的一项创新是对更深层次、更切实空间的零星唤起。单个物体在这里仍然是二维的，但它们从地平面中解放出来，并以暗示空间衰退的方式排列在高地平线上。尽管重叠的树木、河流的对角线倾斜和颜色的平面加强了隐含的深度，但轮廓的使用和相当刚性的正面并没有让观众忘记他们正在看一个二维的装饰表面。
介绍（英）	During the eighteenth century, artists continued to use the bright colors, flat shapes, frontal compositions, and stylizations typical of seventeenth-century Mewari painting- but only in illustrations of religious and literary texts, possibly because the old style was considered well suited to the mythological realm. As is apparent from this picture of Krishna's childhood games, the one innovation that was introduced into such manuscript paintings in the eighteenth century was the sporadic evocation of a deeper, more tangible space. The individual objects still appear two-dimensional here, but they are freed from the ground plane and arranged against a high horizon in a manner that suggests spatial recession. Although the implied depth is reinforced by overlapping trees, the diagonal slant of the river, and flat planes of color, the use of profiles and the fairly rigid frontality do not let viewers forget that they are looking at a two-dimensional, decorated surface.