夏季景观 - 美国大都会艺术博物馆展品查阅

品名（中）	夏季景观
品名（英）	Summer Landscape
入馆年号	1914年，14.76.28
策展部门	亚洲艺术（Asian Art）
创作者	Kano Tan'yū【1602 至 1674】【日本人】
创作年份	公元 1662
创作地区
分类	绘画（Paintings）
尺寸	44 1/2 x 15 1/2 英寸 (113 x 39.4 厘米)
介绍（中）	中国风格的季节性景观让人想起了夏天和冬天，旁边是传说中的中国皇帝、著名的农业和草药发明者神农（日语：Shinnō）的想象画像。这些景观明显不对称，符合中国南宋（1127–1279）的传统，也遵循了日本中世纪晚期流行的景观模式：夏季的场景是一个高高的瀑布和喷涌的溪流，而它的同伴则被冬季雪的寂静所笼罩，一个孤独的旅行者和一个表示葡萄酒店的三角旗是人类存在的唯一标志这对风景画（14.76.26，.28）由Tan'ý签名并注明日期为他六十一年（1662年），而根据签名，神农画像（14.76.27）是在三年后刷的，当时这位艺术家六十四岁。按照将风景画放在宗教画作旁边创作三联画的习俗，这套作品是由一位前主人创作的。
介绍（英）	Seasonal landscapes in a Chinese style evoking summer and winter flank an imaginary portrait of Shennong (Japanese: Shinnō), the legendary Chinese emperor and reputed inventor of agriculture and herbal medicine. The landscapes, markedly asymmetrical in keeping with the Chinese Southern Song (1127–1279) conventions, also follow the popular Japanese late medieval formula for landscapes: the summer scene features a tall waterfall with a gushing stream, while its companion is enveloped in the silence of winter snow, a solitary traveler and a single pennant denoting a wine shop as the sole signs of human presence. The pair of landscapes (14.76.26, .28) were signed and dated by Tan’yū to his sixty-first year (1662), while the Shennong portrait (14.76.27), according to the signature, was brushed three years later, when the artist was sixty-four. Following the custom of having landscapes flank religious paintings to create a triptych, this set was brought together by a former owner. .