谁的袖子？（塔加索德） - 美国大都会艺术博物馆展品查阅

品名（中）	谁的袖子？（塔加索德）
品名（英）	Whose Sleeves? (Tagasode)
入馆年号	1929年，29.100.493, .494
策展部门	亚洲艺术（Asian Art）
创作者
创作年份	公元 1571 - 公元 1666
创作地区
分类	绘画（Paintings）
尺寸	each screen: 57 1/16 英寸 × 11 ft. 4 9/16 英寸 (144.9 × 346.8 厘米)
介绍（中）	这种类型的屏幕的暗示性标题——"谁的袖子？"或Tagasode指出了它的挑衅性质。观众被邀请推测谁拥有这些华丽的长袍。这种屏风省略了人物，只代表主人的长袍、个人配件和家具。然而，即使一件特定时期的服装在屏幕上被准确地描绘出来，它也可能与画作的生产日期不同步 "谁的袖子？"这句话出现在古典爱情诗中，直到19世纪末才常用来指代这种类型的屏风。然而，到了17世纪初，带有奢华服装的服装架（ikō-zu）出现在手绘手卷和木版印刷书籍中。类似的作品也发表在女性礼仪书中，作为如何展示嫁妆中的服装的指南。在前现代日本，挂在看台上的实际服装可以作为空间分隔物或室内装饰，"谁的袖子？"屏幕也可以以同样的方式使用。
介绍（英）	The suggestive title of this type of screen—“Whose Sleeves?,” or Tagasode—points to its provocative nature. The viewer is invited to speculate over who owns these gorgeous robes. Such screens omit human figures and represent only the robes, personal accessories, and furniture of the owners. However, even if a garment of a particular period is accurately depicted on the screen it may not be synchronous with the painting’s date of production. The phrase “Whose Sleeves?” is found in classical love poems and was not commonly used to refer to this type of screen until the late nineteenth century. Yet, by the early seventeenth century, representations of clothing stands (ikō-zu) with lavish garments appear in painted handscrolls and woodblock-printed books. Similar compositions were also published in etiquette books for women as guides for how to display garments that were part of their dowry. Actual garments draped over stands could serve as space dividers or interior decoration in premodern Japan, and “Whose Sleeves?” screens could have been used in the same way.