Segawa TomisaburōII在剧中饰演Yadorigi“Hana Ayame Bunroku Soga” - 美国大都会艺术博物馆展品查阅

品名（中）	Segawa TomisaburōII在剧中饰演Yadorigi“Hana Ayame Bunroku Soga”
品名（英）	Segawa Tomisaburō II as Yadorigi in the Play "Hana Ayame Bunroku Soga"
入馆年号	1949年，JP3112
策展部门	亚洲艺术（Asian Art）
创作者	Tōshūsai Sharaku【1794 至 1795】【日本人】
创作年份	公元 1794
创作地区
分类	印刷品（Prints）
尺寸	高 14 5/8 英寸 (37.1 厘米); 宽 9 7/8 英寸 (25.1 厘米)
介绍（中）	歌舞伎剧院中的女性角色由专门模仿女性的男性oyama或onnagata扮演。这些表演者的技巧和模糊的双重身份是歌舞伎观众非常着迷的源泉。例如，在这里，男性演员的服装、衣着和手势集中体现了一个时尚美丽的女人。事实上，在模仿女性的手势时，演员用一种蜿蜒的女性华丽拉扯着他的衣服，比真实更夸张。然而，为了反映演员的矛盾地位，沙拉库巧妙地证实了濑川富三郎二世下颌线的独特男性方正。 Sharaku 赋予歌舞伎演员肖像以巨大力量的方法之一是人物和单色背景之间的鲜明对比。这种单色由一层深靛蓝色墨水组成，上面撒上银云母粉。正如这幅印刷品所展示的那样，郁郁葱葱的背景衬托了脸部和和服的颜色，效果很好。
介绍（英）	Female roles in Kabuki theater were acted by oyama or onnagata, men who specialized in female impersonation. The skill and ambiguous dual status of such performers were a source of great fascination to the Kabuki audience. Here, for example, the clothing, coiffure, and gesture of the male actor epitomize those of a fashionable and beautiful woman. Indeed, in his imitation of a woman's gesture, the actor tugs at his garment with a sinuous feminine panache more exaggerated than real. Yet, reflecting the contradictory status of the actor, Sharaku has subtly confirmed the distinctively male squareness of Segawa Tomisaburō II's jawline. One of the means by which Sharaku gave his portraits of Kabuki actors great force was the sharp contrast between the figure and the monochrome background. This monochrome consisted of a layer of deep indigo blue ink onto which silver mica dust was sprinkled. As this print demonstrates, the lush background set off the colors of the face and kimono to great effect.