两位女士 - 美国大都会艺术博物馆展品查阅

品名（中）	两位女士
品名（英）	Two Ladies
入馆年号	1929年，JP1640
策展部门	亚洲艺术（Asian Art）
创作者	Suzuki Harunobu【1725 至 1770】【日本人】
创作年份	公元 1764 - 公元 1772
创作地区
分类	印刷品（Prints）
尺寸	高 11 1/8 英寸 (28.3 厘米); 宽 8 1/8 英寸 (20.6 厘米)
介绍（中）	1765年，Harunobu推出了多色木版印刷品nishiki-e，为浮世绘艺术增添了更多的奢华和现实主义色彩。尽管在最早的木版印刷中出现了反射的使用，但色彩的出现以及压花和云母的使用增强了镜子所代表的错觉在这幅版画中，两名妓女通过镜子凝视着对方，将反射作为一种交流手段。艺术家使观众能够同时看到女人的后脑勺和她的脸。这一形象反映了女性从颈背剪头发的传统。美丽的颈背对女性美丽至关重要，也被认为是性感魅力的一个领域通过将这首诗添加到他的版画中，Harunobu增强了他的形象的力量和叙事性。这首诗由平安时期的诗人Mitsunari写着：即使镜子感到悲伤，它仍然像以前一样清晰相反，它的清晰度提高了，而且它永远不会忘记它曾经反射过的图像通过人格化，诗人赋予镜子人类爱和记忆的能力。
介绍（英）	In 1765 Harunobu introduced nishiki-e, the polychrome woodblock print, adding further luxury and realism to ukiyo-e art. Although the use of reflection appeared in the earliest woodblock prints, the advent of color and use of embossing and mica enhanced the illusion represented by the mirror. In this print two courtesans gaze at each other through a mirror, using reflection as a means of communication. The artist enables the viewer to see both the back of the woman's head and her face at the same time. The portrayal reflects the tradition of women cutting the hair from the nape of the neck. A beautiful nape was essential to female beauty and was also considered an area of erotic charm. With the addition of the poem to his print, Harunobu heightens the power and narrative of his image. The poem, by Mitsunari, a Heian-period poet, reads: Even if the mirror feels sad, it is still clear as before. Rather it increases in its clarity, And it never forgets the image it once reflected. Through personification, the poet gives the mirror the human abilities to love and to remember.