傍晚的河流景观 - 美国大都会艺术博物馆展品查阅

品名（中）	傍晚的河流景观
品名（英）	River Landscape in Evening
入馆年号	1914年，14.76.13
策展部门	亚洲艺术（Asian Art）
创作者	Kano Motonobu【1477 至 1559】【日本人】
创作年份	公元 16 - 公元 17
创作地区
分类	绘画（Paintings）
尺寸	图像: 25 1/2 × 12 1/2 英寸 (64.8 × 31.8 厘米) 整体 with mounting: 59 1/2 × 18 1/4 英寸 (151.1 × 46.4 厘米) 整体 with knobs: 59 1/2. × 20 1/8 英寸 × 1 英寸 (diam. of knobs) (151.1 × 51.1 × 2.5 厘米)
介绍（中）	这幅单色的日本风景画描绘了想象中的中国河畔地区的活动。我们"进入"右下角的图片，一名男子被摆渡过河，驶向左下角的豪华建筑。透过一座两层楼高的凉亭敞开的窗户，一位朋友正在等待他的到来和一场亲密的晚间聚会的开始。在河的另一边，在右手边的中间地带，渔民们在工作日结束时将他们的草船停泊在岸边，然后向内陆走去，走向两座隐藏在树林中的乡村小屋——用东亚风景画的词汇来说，这是一个渔村。当我们沿着构图向上移动，沿着河流进一步向远处移动时，一组低洼的山坡建筑暗示着另一个村庄，右上角还有两艘船只的目的地这幅画上有Kano Motonobu的印章，他是Kano学校的第二代校长，这是一个强大的绘画工作室，出现在14世纪末，在接下来的400年里主导了日本主流绘画。然而，几个世纪以来，作品中大量的过度绘画使其归属变得特别困难。在一些段落中，沉重的润饰完全掩盖了"原始"图像，这可能是15世纪在日本首都京都绘制的，从而阻止了对艺术家原始笔触的分析。
介绍（英）	This monochrome Japanese landscape painting portrays the activities of an imagined riverside locale in China. We "enter" the picture at lower right, where a man is ferried across the river toward luxurious buildings at lower left. A friend, seen through the open windows of a two-story pavilion, awaits his arrival and the beginning of an intimate evening gathering. Across the river in the right-hand middleground, fishermen have moored their thatched boats at shore at the end of the workday and walk inland toward two rustic cottages tucked into a grove of trees—a fishing village, in the vocabularly of East Asian landscape painting. Zigzagging back to the left as we move up the composition and further into the distance along the river, a cluster of low-lying, hillside buildings hints at another village, the destination for two more boats seen at upper right. The painting bears the seal of Kano Motonobu, second-generation head of the Kano school, a formidable painting workshop that emerged in the late 1400s and dominated mainstream Japanese painting for the next four hundred years. However, a significant amount of overpainting added to the work over the centuries makes its attribution especially difficult. In some passages, heavy retouching completely masks the "original" image, which may have been painted in the Japanese capital of Kyoto in the 1500s, preventing an analysis of the artist's original brushwork.