“五明郎的花木”，出自《美女的魅力比较》系列（美人桐仓部：五明花木） - 美国大都会艺术博物馆展品查阅

品名（中）	“五明郎的花木”，出自《美女的魅力比较》系列（美人桐仓部：五明花木）
品名（英）	“Hanaōgi of the Gomeirō,” from the series Comparing the Charms of Beauties (Bijin kiryō kurabe: Gomeirō Hanaōgi)
入馆年号	1929年，JP1676
策展部门	亚洲艺术（Asian Art）
创作者	Kitagawa Utamaro【1754 至 1806】【日本人】
创作年份	公元 1794 - 公元 1795
创作地区
分类	印刷品（Prints）
尺寸	高 14 15/16 英寸 (37.9 厘米); 宽 9 11/16 英寸 (24.6 厘米)
介绍（中）	对女性的刻画是宇太郎对日本艺术的巨大贡献。在他创作的大型头像中，他用保姆的手和眼睛来表现气质。在这幅身份不明的妓女画像中，我们可以看出这位女子的性格。她的头坚定地向前伸，露出一条长而整洁的脖子。她的头发梳着七根针，很时髦，脸很丰满，眼神坚毅。但也许是她的双手，藏在指挥欧比的下面，通过不可见的方式暴露了大部分女法官通过将欧比结在前面来宣布自己的职业。当通过奢侈法来控制衣服的奢华时，没有提到服饰，而是成为服饰奢侈的焦点。通过服装的对角线创造出巨大的体积感，乌塔马罗强调了这一点，这一点似乎在穿着者之前。它厚重的轮廓、细致的图案和颜色使它与众不同。我们对这位声名显赫的妓女的实力留下了深刻的印象，她不需要比自己的职业更暴露自己。
介绍（英）	Characterizations of women were Utamaro's great contribution to Japanese art. In the large head-portraits he executed, he used the hands and eyes of a sitter to indicate temperament. In this portrait of an unidentified courtesan, we can tell much about the woman's character. Her head juts forward in a determined way, revealing a long and well-groomed neck. Her hair is fashionably dressed with seven pins, her face plump, with resolute eyes set straight ahead. But it is perhaps her hands, tucked beneath the commanding obi, that reveal most—by not being visible. Courtesans announced their profession by tying the obi in front. When sumptuary laws were passed to control the lavishness of clothes, obi were not mentioned, and they became a focal point of extravagance in dress. Creating the impression of great volume through the diagonal lines of the clothing, Utamaro has stressed this obi, which almost seems to precede its wearer. Its thick outline, detailed pattern, and color set it apart. We are left with a marked impression of the strength of this well-established courtesan, who does not need to reveal more of herself than her profession.