为津隈节提壶的妇女 - 美国大都会艺术博物馆展品查阅

品名（中）	为津隈节提壶的妇女
品名（英）	Women Carrying Pots for the Tsukuma Festival
入馆年号	2021年，2021.398.40
策展部门	亚洲艺术（Asian Art）
创作者	Katsushika Hokusai 葛飾北斎【1760 至 1849】【日本人】
创作年份	公元 1880 - 公元 1883
创作地区
分类	绘画（Paintings）
尺寸	图像: 33 9/16 × 12 3/8 英寸 (85.2 × 31.4 厘米) 整体 with mounting: 61 1/8 × 17 15/16 英寸 (155.3 × 45.6 厘米) 整体 with knobs: 61 1/8 × 20 1/8 英寸 (155.3 × 51.1 厘米)
介绍（中）	乍一看，这幅描绘两位衣着优雅的女性的作品似乎是著名艺术家北濑胜彦（Katsushika Hokusai）在丝绸上的豪华画作，但对颜料的微观检查和科学分析表明，这是一幅相当复杂的复制品，部分由木版印刷，部分由手工绘制。一些用于给和服上色的颜料直到1849年Hokusai去世后20多年才被发明出来，因此大师不可能监督这些作品的制作，尽管在江户时代就已经有了创造细致轮廓（复制画笔绘制的线条）的技术。据知，其他几幅北斋画都是用同样的生殖技术复制的这幅复制品是基于一幅原始的、精心上色的丝绸画，它代表了1806年或1807年左右的北斋比金加（"美女画"）的缩影，当时他正从描绘其sōri时期（当时他自称为"北斋s艱ri"）苗条而精致的女性美转向更感性的女性形象这里的两个女人，一个头上戴着两个铁锅，另一个左手拿着一个，毫无疑问，她们将要参加津隈节筑摩祭) 今年初夏，在京都东北部琵琶湖附近的Maihara的同名神道神社举行。它也被当地人称为烹饪锅节（Nabe Matsuri）根据习俗，女人头上放的锅的数量应该与她交往过的男人的数量相对应（尽管北草时代的流行文学和幽默诗歌公开恶搞了锅会从女人头上掉下来的说法，这些女人谎报了她们交往过的男性数量）。弗里尔画廊收藏（F1904.177）中也有一幅由Hokusai创作的双面板屏幕，展示了1799年至1801年左右的同一主题。
介绍（英）	At first glance, this work showing two elegantly dressed women appears to be a deluxe painting on silk by the renowned artist Katsushika Hokusai, but microscopic inspection and scientific analysis of the pigment reveals that it is rather a sophisticated facsimile created partly by woodblock printing and partly by painting by hand. Some of the pigments used to color the kimono were not invented until over two decades after Hokusai died in 1849, so it would have been impossible for the master to have supervised the production of these works, even though obviously the technology for creating meticulous outlines (that replicate brush-drawn lines) already existed in the Edo period. A handful of other Hokusai paintings are known to have been reproduced using the same reproductive technology. This facsimile was based on an original meticulously colored painting on silk that represents the epitome of Hokusai’s bijinga (“paintings of beautiful women”), dating to around 1806 or 1807, when he was moving away from the depiction of svelte and delicate feminine beauty of his Sōri period (when he styled himself “Hokusai Sōri”) to a more sensuous portrayal of women. Two women here, one with two iron cooking pots on her head, the other carrying one in her left hand, are no doubt on their way to participate in the Tsukuma Festival (Tsukuma matsuri 筑摩祭) held in the early summer at the Shinto shrine of that name in Maihara near Lake Biwa, to the northeast of Kyoto. It is also referred to the Cooking Pot Festival (Nabe Matsuri) by locals. According to custom, the number of pots a women places on her head is supposed to correspond to the number of men she has had relationships with (though popular literature and humorous senryū poetry of Hokusai’s day openly spoofed the idea that pots would fall off the heads of women who lied about the number of men they had been involved with). There is also a two-panel screen treating the same theme by Hokusai dating to around 1799 to 1801 in the Freer Gallery Collection (F1904.177).