竹林七美 - 美国大都会艺术博物馆展品查阅

品名（中）	竹林七美
品名（英）	Seven Beauties of the Bamboo Grove
入馆年号	2022年，2022.344
策展部门	亚洲艺术（Asian Art）
创作者	Watanabe Seitei 渡辺省亭【1851 至 1918】【日本人】
创作年份	公元 1900 - 公元 1918
创作地区
分类	绘画（Paintings）
尺寸	图像: 64 9/16 × 33 7/8 英寸 (164 × 86 厘米)
介绍（中）	在一片竹林中，七位不同社会地位和社会阶层的女性，通过她们的服装和发型，被日本名画大师渡边诚（Watanabe Seitei）精心描绘。尽管在诚本人题写的盒盖上，这幅作品被简称为"七美"（Shichi bijin no zu七美人之図), 女性的数量和背景立即表明，这幅画是对古老的东亚绘画主题《竹林七贤》的模仿，该主题基于西晋初年（265–317）动荡时期七位文人隐居在中国首都郊外竹林的传说。在Seitei创作这幅作品之前的一个多世纪，浮世绘画家Katsukawa Shunshō（1726–1792）创作了一幅著名的画作《竹林七美》（Chikurin shichiken zu竹林七姸図), 还展示了不同社会阶层的女性，这很可能是这部作品的直接灵感来源在构图的中心，穿着华丽的女人是一位高级妓女，或者叫oiran；由于黑色颜料中掺入了闪闪发光的动物胶，她那华丽的发型有着漆一样的光泽。就在赫拉雷的正前方，有两个卡穆罗，或是作为德米蒙德妓女学徒的年轻女孩。一个坐着拿着风扇，另一个从后面看到。在oiran的最右边，是一个武士家庭的女儿，她穿着亮粉色和服，手持战袍参加新年游戏，而在她的左边，她的母亲穿着一件棕色和灰色的制服，穿着蓝色的比基尼。中间女孩的左边是一位端庄但穿着优雅的艺妓。在最左边，一位头发蓬乱的商人阶级妇女一手拿着一把剪刀，另一只手拿着刚刚剪好的牡丹茎这件新发现的杰作是2021在东京美术大学博物馆举办的艺术家作品回顾展上的明星之一，大都会博物馆借出了十幅以鸟类为主题的银叶画。
介绍（英）	Amidst a bamboo grove, seven women of different social status and walks of life—identifiable by their garments and hairstyles—are meticulously portrayed by Watanabe Seitei, a master of Nihonga, or “Japanese-style painting.” Though on the box lid inscribed by Seitei himself the work is referred to simply as “Seven Beauties” (Shichi bijin no zu 七美人之図), the number of women and the setting immediately signal that this painting is a parodic representation of the age-old East Asian painting theme of Seven Sages of the Bamboo Grove, based on the legend of seven literati who secluded themselves in a bamboo grove outside the capital in China during the turbulent years of the early Western Jin dynasty (265–317). Over a century before Seitei created this work, the Ukiyo-e painter Katsukawa Shunshō (1726–1792) had created a famous painting Seven Beauties of the Bamboo Grove (Chikurin shichiken zu 竹林七姸図), also showing women of different social classes, which could very well have been a direct inspiration for this work. The gorgeously garbed woman in the center of the composition is a high-ranked courtesan, or oiran; her magnificent coiffeur has a lacquerlike sheen due to an admixture of glistening animal glue to the black pigment. Directly in front of herare two kamuro, or young girls who serve as apprentices to courtesans of the demimonde. One is seated and holding a fan, the other is seen from behind. On the far right behind the oiran, is a daughter of a samurai family dressed in a bright pink kimono and holding a battledore for a New Year’s game, while to her left her mother sports a subdued brown and grey kimono with a blue obi. To the left of the girls in the center is a demurely but elegantly dressed geisha. On the far left a woman of the merchant class with frazzled hair holds a pair of flower shears in one hand and a stem of peony she has just cut in the other. This newly discovered masterpiece was one of the stars of a retrospective exhibition of the artist’s paintings at Tokyo University of Fine Arts Museum in 2021, to which The Met lent ten album-leaf paintings on avian themes.