带孝敬场景的外袍（Uchikake） - 美国大都会艺术博物馆展品查阅

品名（中）	带孝敬场景的外袍（Uchikake）
品名（英）	Outer Robe (Uchikake) with Scenes of Filial Piety
入馆年号	1949年，49.32.109
策展部门	亚洲艺术（Asian Art）
创作者
创作年份	公元 1767 - 公元 1833
创作地区
分类	服装（Costumes）
尺寸	整体: 68 3/4 x 49 英寸 (174.6 x 124.5 厘米)
介绍（中）	在江户时代的后半期，武士阶级的女性经常穿着带有东亚吉祥、文学或说教主题的长袍，融入景观设计中。嵌入在这种长袍的装饰中 - 冬季景观 - 是儒家孝道的基本信条的视觉参考，在日本，孝道在中国和古代社会一样坚定地颂扬。倡导尊重祖先和父母的此类故事最著名的集合之一是根据元朝（1271-1368）的文本改编的《二十四孝道》。在這裡代表的二十四個典範中，有一位三世紀的官員王翔（日語：Ōshō），為了滿足他生病的繼母在隆冬時代對新魚的渴望，他躺在湖的冰上捕鲤直到它融化。王岐山的服装在这里表现：一顶官员的帽子和扇子躺在河岸上的一根松树枝下，松树枝上挂着一件宫廷长袍。另一个传奇人物孟宗（日语：Mōsō）被右袖背面的帽子、草皮斗篷和锄头所唤起。当孟晚舟生病的母亲表示想吃不合时宜的竹笋时，他就拿着锄头去雪林，竹子开始发芽，以纪念他的孝顺行为。
介绍（英）	In the second half of the Edo period, warrior-class women often wore robes with East Asian auspicious, literary, or didactic themes integrated into landscape designs. Embedded in the decoration of this robe—a winter landscape—are visual references to the fundamental Confucian tenet of filial piety, extolled in Japan as firmly as it had been in ancient Chinese society. One of the most famous collections of such stories advocating respect for one’s ancestors and parents is The Twenty-four Paragons of Filial Piety, based on a Yuan dynasty (1271–1368) text. Among the twenty-four paragons represented here is Wang Xiang (Japanese: Ōshō), a third-century official who, to fulfill his ailing stepmother’s craving for fresh fish in midwinter, caught carp by lying on the ice of a lake until it melted. Wang is represented here by his clothing: an official’s cap and fan lie on the riverbank beneath a pine branch from which a court robe hangs. Another legendary figure, Meng Zong (Japanese: Mōsō), is evoked by the hat, straw cape, and hoe seen on the back of the right sleeve. When Meng’s ill mother expressed a desire for bamboo shoots out of season, he went to the snowy forest with his hoe, whereupon bamboo began to sprout to honor his filial conduct.