秋雨中赤坂的泡桐树 - 美国大都会艺术博物馆展品查阅

品名（中）	秋雨中赤坂的泡桐树
品名（英）	Paulownia Trees at Akasaka in the Evening Rain
入馆年号	1918年，JP236
策展部门	亚洲艺术（Asian Art）
创作者	Utagawa Hiroshige II【1826 至 1869】【日本人】
创作年份	公元 1859
创作地区
分类	印刷品（Prints）
尺寸	高 14 1/8 英寸 (35.9 厘米); 宽 9 1/2 英寸 (24.1 厘米)
介绍（中）	弘治二世是与他同名的人的女婿和继任者，后者于1858年去世。这幅版画是在这位年长的艺术家去世七个月后完成的，以取代他对同一场景的版本（《江户百景图》第53版），其中的原始木版可能已经损坏或丢失。这幅作品证实了这位年轻的艺术家采用了前任对剪影的正式和象征性使用。背景中层层叠叠的剪影使艺术家能够暗示出风景的戏剧性向上扫过。和他的主人一样，Hiroshige II将背景视为一个平面，在这个平面上，前景树木和人物的清晰度突然被生物形态的剪影所取代。这位艺术家的自由色彩感可以从他几乎抽象地运用绿色来暗示树叶中看出。背景几乎可以在象征性的层面上解读为从尘世到彼岸的形而上学出发点。
介绍（英）	Hiroshige II was the son-in-law and successor to his namesake, who died in 1858. This print was completed seven months after the elder artist's death as a replacement for his version of the same setting (plate 53 of One Hundred Famous Views of Edo), the original woodblocks for which may have been damaged or lost. This composition confirms that the younger artist adopted both his predecessors' formal and symbolic usage of the silhouette. Layers of silhouettes in the background allow the artist to suggest the dramatic upward sweep of the landscape. Like his master, Hiroshige II treats the background as a plane where the sharpness of the foreground trees and figures has suddenly given way to biomorphic silhouettes. The artist's free sense of color can be seen in his almost abstract application of green to suggest the foliage of the trees. The background can almost be read on a symbolic level as a metaphysical point of departure from the earthly to the transmundane.