“曙光屋”和歌诗 - 美国大都会艺术博物馆展品查阅

品名（中）	“曙光屋”和歌诗
品名（英）	“Akebonoya” waka poem
入馆年号	2018年，2018.853.10
策展部门	亚洲艺术（Asian Art）
创作者	Hon'ami Kōetsu【1558 至 1637】【日本人】
创作年份	公元 1600 - 公元 1633
创作地区
分类	书法（Calligraphy）
尺寸	图像: 7 3/4 × 6 3/4 英寸 (19.7 × 17.1 厘米) 整体 with mounting: 54 7/16 × 15 3/4 英寸 (138.2 × 40 厘米) 整体 with knobs: 54 7/16 × 17 5/8 英寸 (138.3 × 44.8 厘米)
介绍（中）	与用金片和金粉渲染的菊花和雾气的奢侈设计相反，他那个时代最著名的书法家本见光越题写了一首由古代高级朝臣诗人Minamoto no Michiteru（古贺Michiteru，1187-1248）创作的和歌（31音节宫廷诗），他的诗歌，包括这里引用的诗歌，被收录在著名的帝国赞助选集中，如《日本古今诗集》（Shin kokin wakashu）。唤起首都的秋天，这里的诗句是：曙や川瀬の波のたかせ舟くだすか人の袖の秋きり曙野矢川濑之浪之高濑文久田须瞳之 sode no 秋桐黎明时分，一艘小艇在河的急流中骑行，船夫的袖子在秋雾中飘荡。（译者：John T. Carpenter）这张装饰华丽的诗卡上的和歌的例子是Kōetsu独特手的教科书示例。在展现书法家出色的间距感的同时，也展示了他在三个字符中的两个字符的集群之间创建连字的敏捷性，这为诗歌注入了新的阅读节奏。作为恭越笔迹的特点，大胆地刻有所有格助词 no lanor hito 人（[船]人）等极其简单的字符，以使其脱颖而出。同时，为了营造一种变化感，书法家在第三列的底部采用了极其复杂的助词no濃的变体形式——他刻下这个字符的方式成为他的标志性特质之一。
介绍（英）	Against an extravagant design of chrysanthemums and mist rendered in gold flakes and gold dust, the most famous calligrapher of his age, Hon’ami Kōetsu, has inscribed a single waka (31-syllable court verse) by Minamoto no Michiteru (Koga Michiteru, 1187-1248), a high-ranked courtier-poet of ancient times, whose poems, including the one cited here, were included in distinguished imperially sponsored anthologies such as the New Collection of Japanese Poems Ancient and Modern (Shin kokin wakashu). Evoking the autumn season in the capital, the verse here reads: 曙や川瀬の波のたかせ舟くだすか人の袖の秋きり Akebono ya kawase no nami no takasebune kudasu ka hito no sode no akikiri At the break of dawn a skiff rides the rapids of the river, as the boatman’s sleeves drift in the autumn mist. (Trans. John T. Carpenter) This example of a waka on a gorgeously decorated shikishi (poem card) serves as a textbook example of Kōetsu’s distinctive hand. While manifesting the calligrapher’s brilliant sense of spacing, it shows off his alacrity at creating ligatures between clusters of two of three characters—that injects a new rhythm of reading to the poem. Characteristic of Kōetsu’s handwriting, extremely simple characters such as the possessive particle no 乃or hito 人( [boat]man) are inscribed boldly to make them stand out. At the same time, to create a sense of variation, the calligrapher employs an exceedingly complex variant form of the particle no濃 at the bottom of the third column—the way he inscribes this character became one of his trademark idiosyncracies.