鹅和芦苇 - 美国大都会艺术博物馆展品查阅

品名（中）	鹅和芦苇
品名（英）	Geese and Reeds
入馆年号	2015年，2015.300.57
策展部门	亚洲艺术（Asian Art）
创作者
创作年份	公元 1300 - 公元 1400
创作地区
分类	绘画（Paintings）
尺寸	图像: 19 5/8 × 11 7/16 英寸 (49.8 × 29 厘米) 整体 with mounting: 50 7/8 × 15 15/16 英寸 (129.3 × 40.5 厘米) 整体 with knobs: 50 7/8 × 17 7/8 英寸 (129.3 × 45.4 厘米)
介绍（中）	接近秋末，三只鹅在沙洲上下车，只有淡淡的笔触，更干燥、更深的笔触勾勒出水边枯萎的芦苇。一只鹅在休息，而其他鹅则伸长脖子对着天空呼唤，也许是他们羊群中其他开始南下旅程的信号。鹅和芦苇的绘画组合在十三世纪从中国传入日本，是早期日本禅宗艺术家僧侣的热门主题，例如Tesshū Tokusai（卒于 1366 年），这种类型的绘画经常与他们联系在一起。由于其精致的品质和对画笔的复杂使用——这在日本最早的水墨画例子中是不寻常的——这件作品一度被认为是中国血统的。这种纸在一个角落里印有花卉图案，也是在中国流行的一种类型。
介绍（英）	It is near the end of autumn and three geese have alighted on a sandbank, indicated only by faint washy brushstrokes, with drier, darker strokes delineating withered reeds at the water’s edge. One goose is at rest while the others crane their necks to call at the sky, perhaps signaling others in their flock who have begun their journey south. The pictorial combination of geese and reeds, introduced to Japan from China in the thirteenth century, was a popular subject for early Japanese Zen artist-monks such as Tesshū Tokusai (d. 1366), with whom paintings of this type are often associated. Because of its refined quality and sophisticated use of the brush—unusual among the earliest examples of Japanese ink paintings—this work was once thought to be of Chinese origin. The paper, wax-imprinted with a floral design in one corner, is also a type that was popular in China.