乌鸦形态的奥基莫诺 - 美国大都会艺术博物馆展品查阅

品名（中）	乌鸦形态的奥基莫诺
品名（英）	Okimono in the Form of a Raven
入馆年号	1913年，13.112.20
策展部门	武器和盔甲（Arms and Armor）
创作者	Myōchin Munesuke【1688 至 1735】【日本人】
创作年份	公元 1700 - 公元 1750
创作地区	原产国: 日本（Country of Origin: Japan）
分类	混杂的（Miscellaneous）
尺寸	长 18 英寸 (45.7 厘米)
介绍（中）	这只乌鸦是通过锤击和压花钢（一种最棘手的媒介）塑造成具有非凡活力的存在。虽然一动不动，但鸟被捕捉到一个栩栩如生的姿势和充满表情。喙的明显大尺寸和形状将其与乌鸦区分开来。它被设计为冲物或装饰品，用于展示在日本接待室的礼仪壁龛（tokonoma）中。由于其尺寸大，质量上乘，我们可以想象这件作品是为一位富有的大名赞助人委托的。作品的签名是"Myōchin Shikibu Ki no Munesuke"。这是指使用这个名字的第二十二位金属大师（从十二世纪开始），他在十八世纪初活跃在江户（今东京）。这位Munesuke是华丽头盔和盔甲的著名制造商，被称为最伟大的金属reoussé（锤击形状）大师之一。虽然几个世纪以来创作的大多数签名作品都不被认为是真实的，但大都会武器和盔甲部的创始人巴什福德·迪恩（Bashford Dean）在仔细比较研究后于1918年写道，这件作品代表了十八世纪初最优质的Repossé金属制品。这件作品曾经是法国著名的日本铁制品收藏家爱德华·梅纳（Edouard Mène）的珍贵财产，并在十九世纪末和二十世纪初在吉梅特博物馆和切尔努斯基博物馆以及巴黎的其他地方展出。
介绍（英）	This raven was fashioned by hammering and embossing steel––a most intractable medium––into a being of remarkable vitality. Though motionless, the bird is caught in a lifelike pose and full of expression. The conspicuously large size and shape of the beak distinguishes it from a crow. It was designed as an okimono, or ornament for display in the ceremonial alcove (tokonoma) of a Japanese reception room. Because of its large size and fine quality, we may imagine this work was commissioned for a wealthy daimyo patron. The work is signed "Myōchin Shikibu Ki no Munesuke" on the underside of the body. This refers to the twenty-second master metalsmith to use this name (beginning in the twelfth century), who was active in Edo (present day Tokyo) in the early eighteenth century. This Munesuke, a noted maker of ornate helmets and armor, was known as one of the greatest masters of metal repoussé (hammered shapes). While the majority of works signed Munesuke created over the centuries are not accepted as genuine, Bashford Dean, the founder of the Metropolitan’s Department of Arms and Armor, after careful comparative research, wrote in 1918 that this work represents the finest quality repoussé metalwork of the early eighteenth century. The work was once a prized possession of Edouard Mène, a noted French collector of Japanese ironwork, and in the late nineteenth and early twentieth centuries was put on display at the museums Guimet and Cernuschi and elsewhere in Paris.