演员班多·希科萨布罗（Bando Hikosabro）第二次扮演身穿薄纱和服的Oiran，站着，系着她的欧比 - 美国大都会艺术博物馆展品查阅

品名（中）	演员班多·希科萨布罗（Bando Hikosabro）第二次扮演身穿薄纱和服的Oiran，站着，系着她的欧比
品名（英）	The Actor Bando Hikosaburo 2nd as an Oiran in a Gauze Kimono, Standing, Tying Her Obi
入馆年号	1911年，JP667
策展部门	亚洲艺术（Asian Art）
创作者	Torii Kiyomitsu【1735 至 1785】【日本人】
创作年份	公元 1754 - 公元 1774
创作地区
分类	印刷品（Prints）
尺寸	27 11/32 x 4 英寸 (69.5 x 10.2 厘米)
介绍（中）	随着颜色开始改变线条的使用，一种新的格式出现了，这也带来了更多的构图可能性。柱形印刷品是一个细长的矩形，指的是传统的卷轴，描绘的是部分隐藏在观众面前的年轻女性。它们的暗示性为受试者增添了一定的神秘感和吸引力，他们对情书交易的关注和对女性身份的反思强化了他们的内省彩色印刷的过程也改变了图像构思中部分与整体的关系，这在Masanobu的开创性工作中得到了注意。清光通过有意裁剪图形，强化了新的色彩配器模式，暗示了一种只有随着时间流逝才能完成的场景。这种对时间性的提及预示着一种新的叙事结构，它是下一代浮世绘艺术家（如Harunbu和Utamaro）的作品的特征。
介绍（英）	As color began to transform the use of line, a new format emerged that also ushered in additional compositional possibilities. The pillar print, an elongated rectangle that refers to the traditional scroll, featured young women partially concealed from the viewer. Their allusiveness adds a certain mystery and allure to the subjects, whose preoccupations with the transaction of love letters and reflections on womanhood reinforce their introspection. The process of color printing also changed the relationship of parts to whole in the pictorial conception, as was noted in Masanobu's pioneering work. Kiyomitsu intensifies the new mode of color orchestration by intentionally cropping the figure, suggesting a scenario that may only be completed with the passage of time. This reference to temporality heralded a new narrative structure, one that characterized the prints of the next great generation of ukiyo-e artists, such as Harunobu and Utamaro.