佩奥尼斯（Peonies） - 美国大都会艺术博物馆展品查阅

品名（中）	佩奥尼斯（Peonies）
品名（英）	Peonies
入馆年号	2021年，2021.398.18
策展部门	亚洲艺术（Asian Art）
创作者	Fukae Roshū 深江蘆舟【1699 至 1757】【日本人】
创作年份	公元 1733 - 公元 1757
创作地区
分类	绘画（Paintings）
尺寸	图像: 43 5/8 × 18 3/4 英寸 (110.8 × 47.6 厘米) 整体 with mounting: 81 1/8 × 24 1/4 英寸 (206 × 61.6 厘米)
介绍（中）	一排色彩微妙但绚丽的牡丹，白色、粉红色和红色，与斑驳的墨水和彩色水洗渲染的叶子相映成趣。为了增加奢华感，在绘制叶子时，金色颜料被滴入叶子的轮廓中。与该组的其他绘画一样，毫无疑问，Roshū曾经被安装为一对六面板屏幕，他借鉴了以前临巴大师的水墨画技巧。他没有在灰色和黑色的色调中工作，而是采用了tarashikomi技术，在这种技术中，斑驳的洗涤创造了矿物颜料的渐变，这些颜料重叠并混合在一起，以唤起图像的深度和情感。花的颜色经过调制：深红色从淡红色背景中脱颖而出;深紫色的点缀与淡粉色相映成趣;白色Gofun（磨碎的牡蛎壳）颜料突出了灰色的花瓣。虽然他的时代味道古老，但他的花卉主题画仍然具有持久的魅力。他现存的其他已知画作以《伊势物语》（2015.300.91）中的宇津山场景为主题。除了他的生活日期，我们对这位艺术家的传记几乎一无所知。活跃于 1700 年代初期，他幸存的小型语料库表明他在一个世纪前以古老的 Sōtatsu 模式工作。一些消息来源推测，他与林巴大师大方恭林一起训练，他的寿命与他重叠，但这无法证实。最初是一对六折屏风，重新装上挂轴; 同一组的其他例子可以在哈佛大学范伯格收藏中找到（图2）; 圣路易斯艺术博物馆（图3）;弗里尔-萨克勒画廊，国家亚洲艺术博物馆;奈崎宗重收藏和细见博物馆。
介绍（英）	A subtly colored but glorious array of peonies, white, pink and red, are rendered against leaves rendered in mottled ink and color washes. To add a deluxe touch, in places gold pigment was dripped into the outlines of the leaves as they were being painted. As with other paintings from this group, no doubt once mounted as a pair of six-panel screens, Roshū draws on ink painting techniques of previous Rinpa masters. Rather than working in shades of gray and black, he has employed the tarashikomi technique, in which mottled washes create gradations of mineral pigments that overlap and blend together to evoke pictorial depth and emotion. The colors of the flowers are modulated: dark red stands out from the pale red background; deep purple accents stand out against pale pink; white gofun (ground oyster-shell) pigment accents the grayish petals. While archaic in flavor for his time, still his paintings on floral themes have an enduring charm. His other known surviving paintings take up the theme of the Mount Utsu scene from the Tales of Ise (2015.300.91). Other than his life dates, we know next to nothing about the artist’s biography. Active in the early 1700s, his small surviving corpus shows that he worked in an archaic Sōtatsu mode of a century before. Some sources speculate that he trained with the Rinpa master Ōgata Kōrin with whom his life span overlapped, but that cannot be confirmed. Originally a pair of six-fold screens, remounted as hanging scrolls; other examples from the same set are found in the in Feinberg Collection, Harvard University (Fig. 2); St. Louis Art Museum (Fig. 3); Freer-Sackler Gallery, National Museum of Asian Art; Narazaki Muneshige Collection, and Hosomi Museum.