十六罗汉协同画 - 美国大都会艺术博物馆展品查阅

品名（中）	十六罗汉协同画
品名（英）	Collaborative Painting of Sixteen Arhats
入馆年号	2020年，2020.92
策展部门	亚洲艺术（Asian Art）
创作者	Suzuki Hyakunen 鈴木百年【1825 至 1891】【日本人】
创作年份	公元 1870 - 公元 1880
创作地区
分类	绘画（Paintings）
尺寸	图像: 63 3/4 英寸 × 26 英寸 (161.9 × 66 厘米) 整体 with mounting: 96 1/2 × 32 3/4 英寸 (245.1 × 83.2 厘米)
介绍（中）	在这次合作中，十六位艺术家描绘了十六罗汉（日语：Jūroku Rakan）中的一位，这是一群佛教圣人，他们拒绝所有世俗的激情，存在于佛教世界的各个领域，以传播所谓的正义法律 - 佛陀的真正教义，随着时间的推移，这些教义本质上容易退化。这十六位艺术家都是1880年代京都市绘画界的关键人物。他们包括像森关西这样的主要人物，他在著名画家盐川文林（1808-1877）去世后，作为京都绘画组Jounsha的负责人站在京都绘画圈的中心，其中许多成员也可以在合作者中找到。已故文凛的亲生儿子一道在左中画了部分隐藏的人物。这项工作的另一个特别重要的合作者，与森关西一起是该小组中最年长的，是田村长宫。长坤是文人绘画运动的领军人物，在这部作品中也有很好的体现。许多画家与四条画派的自然主义绘画风格有关。几乎所有出现在这幅作品上的名字和图片的画家在 1880 年成立后都曾隶属于日本第一所艺术教育机构京都府立绘画学校（京都府 Ga-gakkō）。除了其创始人之一河野百玲之外，已知超过一半的艺术家在 1880 年代曾在该校任教。
介绍（英）	For this collaboration, sixteen artists depicted one each of the Sixteen Arhats (Japanese: Jūroku Rakan), a group of Buddhist saints who reject all worldly passions and exist in various realms of the Buddhist world in order to promulgate the so-called Just Law—the true teachings of the Buddha, which are inherently prone to degeneration over time. The sixteen artists were all key players in painting circles in the city of Kyoto in the 1880s. They include major figues like Mori Kansai, who, after the death of the leading painter Shiokawa Bunrin (1808–1877), stood at the center of Kyoto painting circles as the head of the Kyoto painting group Jounsha, many of whose members can also be found among the collaborators. The late Bunrin’s own son, Ichidō, painted the partially hidden figure in profile at middle left. Another particularly important collaborator on this work, and along with Mori Kansai the oldest of the group, is Tanomura Chokunyū. Chokunyū was a leading figure of the literati painting movement, which is also well represented in this work. A number of the painters are associated with the naturalistic painting style of the Shijō School. Nearly all the painters whose names and pictures appear on this work were at one time or another after its founding in 1880 affiliated with the Kyoto Prefectural School of Painting (Kyōto-fu Ga-gakkō), Japan’s first ever art educational institution. In addition to one of its founders, Kōno Bairei, well over half of the artist’s represented in this work are known to have taught at the school in the 1880s.