船上的中国女人与山水人物 - 美国大都会艺术博物馆展品查阅

品名（中）	船上的中国女人与山水人物
品名（英）	Chinese Woman in a Boat and Figures in Landscapes
入馆年号	1963年，63.174.1–.3
策展部门	亚洲艺术（Asian Art）
创作者	Kano Kōi【0 至 1636】【日本人】
创作年份	公元 1600 - 公元 1636
创作地区
分类	绘画（Paintings）
尺寸	图像 (each): 46 9/16 × 19 1/8 英寸 (118.3 × 48.6 厘米) 整体 with mounting (each): 83 7/8 × 24 11/16 英寸 (213 × 62.7 厘米) 整体 with knobs (each): 83 7/8 × 26 11/16 英寸 (213 × 67.8 厘米)
介绍（中）	在两幅世俗绘画（通常是风景画）之间展示宗教绘画的做法始于室町时期（1392-1568）。佛教中心人物的超凡脱俗空间与这个世界上更具体的景观空间和季节时间之间的对比和互动，在视觉上与禅宗形而上学思想所关注的二元性和非二元性概念相吻合。哪个世界才是真正的此时此地？Kano Koi将Kannon演绎成一个女性形象，被一个可能是菩提祖师（日语：Daruma）的人用木杆撑过一条河，这使宗教世界和世俗世界之间的省略又向前迈进了一步。他独特的笔触将坎农描绘成一种个人表达，而不是一种崇拜的对象；在这里，它似乎体现了宁静。两侧的风景，每一幅都是对中国风格风景的传统沉思欣赏，与中心场景的比例大不相同，这突出了坎农描绘的即时性与经典永恒风景的沉思距离之间的对比。奇怪的是，世俗世界似乎比宗教世界更遥远，更超然。
介绍（英）	The practice of displaying a religious painting between two secular paintings, usually landscapes, began in earnest in the Muromachi period (1392–1568). The contrast and interaction between the otherworldly space of the central Buddhist figure and the more concrete space and seasonal time of landscape in this world plays visually with notions of duality and nonduality that concerned much Zen metaphysical thought. Which world is truly the here and now? Kano Koi's rendition of Kannon as a feminine figure being poled across a river by a figure who may be Bodhidharma (Daruma, in Japanese) takes the elision between religious and secular worlds a step further. His characteristic brushwork delineates Kannon less as an object of worship than as a personal expression; here it seems to embody serenity. The flanking landscapes, each a conventional meditative appreciation of landscape painted in a Chinese style, have a vastly different scale than the central scene, which underscores the contrast between the immediacy of the Kannon depiction and the contemplative distance of the classic, timeless landscape. Oddly or purposefully, the secular world seems even further removed and even more transcendent than the religious one.