中国诗歌与书法 - 美国大都会艺术博物馆展品查阅

品名（中）	中国诗歌与书法
品名（英）	Chinese Poems and Calligraphy
入馆年号	2020年，2020.171
策展部门	亚洲艺术（Asian Art）
创作者	Mitsui Shinna 三井親和【1700 至 1782】【日本人】
创作年份	公元 1779
创作地区
分类	书法（Calligraphy）
尺寸	图像: 61 英寸 × 11 ft. 9 1/8 英寸 (155 × 358.5 厘米) 整体: 69 英寸 × 12 ft. 8 1/2 英寸 (175.3 × 387.4 厘米)
介绍（中）	十八世纪末著名的日本书法家和篆刻大师Mitsui Shinna-将这种由各种字体组成的动态汉字阵列刷在单独的纸张上，然后粘贴在一个六面板折叠屏幕上。最引人注目的是右边的古代篆书（tensho）、中间的标准篆书（kaisho）和左边的以杂色形式呈现的篆书变体中的一对超大字符，就像是墨迹拓片中的字符。每一对大字构成了中国唐朝诗歌对联的开头。每副对联的其余八个字都用专业草书（sōsho）刻在相邻的面板上。上联出自杜甫（712–770）的一首诗；第二和第三对联来自李白（701–762）的诗。从平安时代（794-1185）到近代早期，这两位诗人在日本都受到了高度的尊重在这个屏幕上，书法家选择了一些短语，这些短语组合在一起，有助于为朋友聚会创造一个想象中的户外环境。杜甫在前两个面板上的对联（右边）写着：竹深留客處荷淨納涼時在竹林深处，是客人逗留的地方当纯洁的莲花出现时，是享受凉爽的时候下一副对联占据了中间的两个面板，是李白在一首赞美佛教寺庙花园的诗中创作的，因此这首诗延续了文人聚集的理想化花园环境的隐喻。前两个字符以超大标准字体呈现，铭文如下：樓臺成海氣草木發天香塔楼和露台就像海上的海市蜃楼<草原和树木散发出天堂般的香气最后一对面板上是李白的另一副对联，这是一组十二首诗中的一段，纪念李白的密友袁丹秋元丹邱, 道教隐士。同样，前两个字是用篆书刻的，但这一次看起来风化或摩擦：松風清瑤瑟溪月湛芳樽松树在风中沙沙作响清纯如玉琴声<山溪上的月光照亮了酒杯（约翰·卡彭特翻译）
介绍（英）	Mitsui Shinna—a celebrated late-eighteenth century Japanese calligrapher and master of seal-carving (tenkoku)—brushed this dynamic array of Chinese characters in various scripts on individual sheets that were then pasted across the expanse of a six-panel folding screen. Most arresting are the pairs of oversized characters in archaic seal script (tensho) on the right, in standard script (kaisho) in the middle, and in a variant form of seal script rendered in a mottled form, as if characters from an ink rubbing, on the left. Each pair of large characters comprises the beginning of a couplet of Chinese Tang-dynasty verse. The remaining eight characters of each couplet are inscribed in expert cursive script (sōsho) on the adjacent panel. The first couplet is from a poem by Du Fu (712–770); the second and third couplets are from poems by Li Bai (701–762). Both poets have been highly esteemed in Japan from the Heian period (794–1185) through early-modern times. For this screen, the calligrapher selected phrases that would combine to help create an imaginary outdoor setting for a gathering of friends. The couplet by Du Fu on the first two panels (on the right) reads: 竹深留客處荷淨納涼時 Deep in the bamboo grove, is the place for guests to tarry. When the pure lotus blossoms appear, is the time to enjoy the coolness. The next couplet, occupying the middle two panels, is by Li Bai—from a poem praising a Buddhist temple garden, which thus continues with the metaphors of an idealized garden setting where literati gather. With the first two characters rendered in oversize standard script, the inscription reads: 樓臺成海氣草木發天香 Towers and terraces arise like mirages on the seas. Grasses and trees emit a heavenly fragrance. On the final pair of panels is another couplet by Li Bai, a passage from a set of twelve poems honoring Li Bai’s close friend Yuan Danqiu元丹邱, a Daoist recluse. Again, the first two characters are inscribed in seal script, but this time in manner appearing weathered or rubbed: 松風清瑤瑟溪月湛芳樽 Pine trees rustling in the wind pure as sounds of a jade zither. Moonlight on the mountain stream illumines the goblets of wine. (Translations by John T. Carpenter)