Henjō（Sō; HenjĴzu）大主教，来自《三十六位诗仙》的Dō - 美国大都会艺术博物馆展品查阅

品名（中）	Henjō（Sō; HenjĴzu）大主教，来自《三十六位诗仙》的Dō
品名（英）	Archbishop Henjō (Sōjō Henjō zu), from the Dōon Version of the Thirty-Six Poetic Immortals
入馆年号	2021年，2021.398.15
策展部门	亚洲艺术（Asian Art）
创作者	Iwasa Matabei 岩佐又兵衛【1578 至 1650】【日本人】
创作年份	公元 1620 - 公元 1639
创作地区
分类	绘画（Paintings）
尺寸	图像: 11 1/4 × 12 13/16 英寸 (28.5 × 32.5 厘米) 整体 with mounting: 43 1/4 × 17 11/16 英寸 (109.9 × 44.9 厘米)
介绍（中）	在古代日本宫廷社会，诗歌是典型的文学体验。诗人被理想化并深受钦佩，人们经常用肖像画来纪念他们。11世纪初，藤原慎太郎（966–1041）从过去挑选了36位"诗仙"（kasen），他们的形象成为日本传统绘画《大和》的流行主题。这幅想象中的Henjō大主教的肖像最初是一套由36位诗人组成的专辑叶子的一部分。一些树叶上有画家岩萨·马塔贝的印章，他打破了卡诺和土佐工作室的正统观念，创造了自己独特的人物刻画风格。例如，在这里，他描绘了一个额头褶皱、眼睛下垂、脸颊下垂的老和尚，下垂的嘴传达着忧郁——与前几个世纪风格化的诗人肖像相去甚远。马塔贝的诗人画像富有表现力，引人入胜。同样令人印象深刻的是水晶佛教念珠、大主教的丝绸锦缎斗篷和kesa褶皱的细节诗人画像上方是他年轻时以爱情为主题的著名诗歌之一。该文本由四列书法转录而成，主要是假名（日语音节）和汉字（汉字）。最右边是诗人的名字和笔名sōjō僧正遍照, 用粗体草书题写。这首诗写道：我やとはみちもなきまてあれにけりつれなき人をまつとせしまに Waga yado wa michi mo naki制作了 arenikeri tsurenaki hito matsu to seshi ma ni 通往我小屋的小路，完全杂草丛生，现在几乎消失了，而我却徒劳地等待着一个失去联系的情人（约翰·卡彭特译）
介绍（英）	In ancient Japanese court society, poetry was the quintessential literary experience. Idealized and deeply admired, poets were often commemorated in portraiture. In the early eleventh century, Fujiwara Kintō (966–1041) selected thirty-six “poetic immortals” (kasen) from the past, and their images became a popular theme in Yamato-e, traditional Japanese painting. This imaginary portrait of Archbishop Henjō was originally part of a set of album leaves comprising all thirty-six poets. Some of the leaves feature the seal of the painter Iwasa Matabei, who broke away for the orthodoxy of the Kano and Tosa studios to create his own distinctive style of depicting the human figure. For instance, here he has rendered the aged monk with a wrinkled forehead, droopy eyes, sagging cheeks, and downturned mouth that convey melancholy—a far cry from the stylized poet portraits of previous centuries. Matabei’s poet portraits are expressive and compelling. Similarly impressive is the detailing of the crystal Buddhist rosary beads, the archbishop’s silk damask cloak and kesa surplice. Above the portrait of the poet is one of his famous poems from his younger years on the theme of love. The text is transcribed in four columns of calligraphy, mostly kana (Japanese syllables) with an admixture of kanji (Chinese characters). On the far right is the poet’s name and clerical title, Sōjō Henjō 僧正遍照, inscribed in bold semi-cursive script. The poem reads: 我やとはみちもなきまてあれにけりつれなき人をまつとせしまに Waga yado wa michi mo naki made arenikeri tsurenaki hito o matsu to seshi ma ni The path to my hut, completely overgrown, has now all but disappeared, while I waited to no avail for an out-of-touch lover. (Translated by John T. Carpenter)