一个奥伊兰站在那里，右手拿着烟斗，转过身来，从肩膀后面看 - 美国大都会艺术博物馆展品查阅

品名（中）	一个奥伊兰站在那里，右手拿着烟斗，转过身来，从肩膀后面看
品名（英）	An Oiran Standing, a Pipe in Her right Hand, and Turning to Look Behind over Her Shoulder
入馆年号	1911年，JP652
策展部门	亚洲艺术（Asian Art）
创作者	Torii Kiyomasu I【1696 至 1716】【日本人】
创作年份	公元 1695 - 公元 1715
创作地区
分类	印刷品（Prints）
尺寸	21 7/8 x 12 3/4 英寸 (55.6 x 32.4 厘米)
介绍（中）	最早的浮世绘版画被认为是对水墨画的转述。木版画家过分注意复制笔划的不规则性，例如书法曲线的厚度变化和画笔离开纸张处的羽毛状质量。然而，在这场从绘画到木版印刷的简单转换中，画笔艺术家自由绘制的线条在切割硬木的物理过程中变得更加精确和稳健。此外，柔软的白色纸张和厚重的黑色书法线条之间的对比，大胆的图形图案，以及对表面的更多关注，都有助于形成一种新的美学 Kiyomasu代表了托利派艺术家的蓬勃风格。这幅作品为线条的多样性提供了一个突出的例子——袖子和外袍上厚重而有力的书法笔触，与内袍上精致的几何线条形成鲜明对比。妓女用全身曲线做手势，而她的外袍则用流畅、生动的线条和大幅的笔触来描绘，强调悬垂袖子的重量。大型的扫线被允许充分发挥优雅的承认江户之美。
介绍（英）	The first ukiyo-e prints were conceived as paraphrases of ink drawings. The woodblock cutter gave exaggerated attention to duplicating the irregularities of the brush stroke, for instance, the variations in thickness of the calligraphic curves and the feathery quality at the point where the brush left the paper. However, in this translation from painting to the simplicity of the woodblock print, the freely-drawn line of the brush artist became more precise and robust in the physical process of incising hard wood. Additionally, the contrast between the soft, white paper and the heavy black calligraphic lines, the bold graphic patterning, and greater attention to the surface all contributed to a new aesthetic. Kiyomasu represents the vigorous style of the Torii school artist. This composition offers an outstanding example of the diverse appearance of line—the thick, vigorous calligraphic strokes that adorn the sleeve and outer robe in contrast to the delicate geometric lines that suggest the inner robe. The courtesan gestures with the full curve of the body, while her outer robe is depicted with a fluid, animated line and slashing strokes that emphasize the weight of the draping sleeve. Large sweeping lines are allowed full play in graceful acknowledgement of the Edo beauty.