守望者和守望者 - 美国大都会艺术博物馆展品查阅

品名（中）	守望者和守望者
品名（英）	The Watchers and the Watched
入馆年号	1914年，JP876
策展部门	亚洲艺术（Asian Art）
创作者	Suzuki Harunobu【1725 至 1770】【日本人】
创作年份	公元 1764 - 公元 1772
创作地区
分类	印刷品（Prints）
尺寸	高 11 1/8 英寸 (28.3 厘米); 宽 8 1/4 英寸 (21 厘米)
介绍（中）	Harunobu被认为是多色版画的引入者，他也描绘了吉原茶馆里展示的妓女，但他对这个主题的处理有很大的不同。莫罗诺布以统一而客观的目光观察观察者和被观察者，而哈鲁诺布则将观察者和观察者进行对比和Moronobu一样，Harunobu使用一扇窗户，一个框架中的框架，同时描绘内外，但他没有从街上看到，而是将观众置于娱乐屋的亲密感中。路人中立的有利位置已经成为内心深处某个人充满心理的视角。我们对妓女有着特殊的看法，可以在华丽的服装上大饱眼福，突出她们的美丽 Harunobu通过使舞台和观众区域更加清晰，加强了我们对妓女自我意识展示的认识。在莫罗诺布的印刷品中，内部和外部之间有一种交流。然而，在这里，妓女们并不承认有男人透过窗户窥视，尽管年轻服务员寄来的信可能来自一位仰慕者。室内和室外空间之间也没有视觉上的重叠。观察者被限制在背景中一扇狭窄的窗户里。他们离我们很远，不像莫罗诺布版画前景中的路人，他们是我们的代理人。观察者的严厉剪裁与妓女的奢华描绘形成鲜明对比。这种将观察者减少到一群面孔和分配给他们的小空间有助于加强他们的凝视。观察者不再是在街上漫步的路人；在这里，看是他们唯一的活动。
介绍（英）	Harunobu, who is credited with the introduction of the polychrome print, also depicts courtesans on display in a Yoshiwara teahouse, but there is considerable difference in his treatment of the subject. While Moronobu observes the watchers and the watched with a uniform and impersonal gaze, Harunobu contrasts the observers and the observed. Like Moronobu, Harunobu uses a window, a frame within a frame, to depict inside and outside simultaneously, but, instead of a view from the street, he situates the viewer within the intimacy of the pleasure house. The neutral vantage point of a passerby has become the psychologically charged perspective of someone on the inside. We have a privileged view of the courtesans and can feast our eyes on the sumptuous attire that accentuates their beauty. Harunobu intensifies our awareness of the courtesans' self-conscious display by making the stage and audience areas more distinct. In the print by Moronobu there is an exchange between the inside and the outside. Here, however, the courtesans do not acknowledge the presence of the men peering through the window, though the letter that is being delivered by the young attendant is presumably from an admirer. There is also no visual overlap between interior and exterior spaces. The observers are confined to a cramped window in the background. They are distanced from us, unlike the passersby in the foreground of Moronobu's print, who are our surrogates. The harsh cropping of the watchers contrasts with the lavish depiction of the courtesans. This reduction of the observers to a crowd of faces and the small space allotted them serve to intensify their gaze. The observers are no longer passersby strolling along the street; here, looking is their sole activity.