Bugaku舞蹈（前）；中国狮子（反面） - 美国大都会艺术博物馆展品查阅

品名（中）	Bugaku舞蹈（前）；中国狮子（反面）
品名（英）	Bugaku Dances (front); Chinese Lions (reverse)
入馆年号	1975年，1975.268.57, .58
策展部门	亚洲艺术（Asian Art）
创作者	Hanabusa Itchō【1652 至 1724】【日本人】
创作年份	公元 1700 - 公元 1733
创作地区
分类	绘画（Paintings）
尺寸	图像 (each screen): 72 1/8 英寸 x 14 ft. 9 5/8 英寸 (183.2 x 451.2 厘米)
介绍（中）	中国狮子（卡拉吉什）在这对屏幕的金色区域中，九只中国狮子（卡拉吉什）嬉戏打闹。在东亚视觉文化中，中国狮子是权力的吉祥象征，而在鸠山和江户时期，人们经常在精英武士住宅、城堡或寺庙的屏风或滑动门板上看到狮子的身影。无论是用深色墨水画出的锯齿状曲线，还是用灰色调画出的尾巴的漩涡，都显示出艺术家Hanabusa Itchō在1709年流亡归来后（显然是因为与武士夫人的不名誉行为）晚年艺术力量的巅峰。反面是一幅色彩斑斓的布格库（宫廷舞蹈）表演，以极其细致但非常传统的方式。这组屏幕显示了伊奇的两方面风格，据说是这位艺术家最昂贵的委托，可能是1713年他的一位顶级赞助人 Bugaku舞蹈记录古代宫廷舞蹈服装和姿势的图卷启发了流行的江户主题，这一主题取材于色彩斑斓、充满异国情调的Bugaku剧目，这是众多经典意象中的一个，为17世纪末和18世纪初日本艺术家大胆的设计创新提供了丰富的来源。在这幅绘于伊奇晚年的作品中，人物似乎在金色的表面上跳舞。
介绍（英）	Chinese Lions (Karajishi) Across the gold expanse of this pair of screens, nine Chinese lions (karajishi) gambol and playfully wrestle. Chinese lions were auspicious symbols of power in East Asian visual culture, and through the Momoyama and Edo periods times were frequently found on screens or sliding-door panels in elite samurai residences, castles, or temples. The dynamic brushwork, whether the jagged curves in dark ink, or the swirls of tails and in grayish tones, reveal the artist Hanabusa Itchō at the height of his artistic powers in his later years—after his return from exile in 1709 (apparently for disreputable behavior with samurai ladies). On the reverse side is a colorful depiction of bugaku (court dance) performances, in a hyper-meticulous but very traditional mode. This set of screens, revealing two sides of Itchō’s stylistic capabilities, is said to be the artist’s most expensive commission, possibly for one of his top patrons in 1713. Bugaku Dances Illustrated scrolls recording the costumes and gestures of ancient court dances inspired the popular Edo theme drawn from the colorful and exotic bugaku repertory—one of the many appropriations of classic imagery that provided a rich source for the bold design innovations of late seventeenth- and early eighteenth-century Japanese artists. In this work, painted in Itchō’s later years, the figures seem to dance within and against the gold surface.