地狱法庭 - 美国大都会艺术博物馆展品查阅

品名（中）	地狱法庭
品名（英）	The Hell Courtesan
入馆年号	1929年，29.100.517
策展部门	亚洲艺术（Asian Art）
创作者	Seikei【1850 至 1899】【日本人】
创作年份	公元 1868 - 公元 1899
创作地区
分类	绘画（Paintings）
尺寸	图像: 39 1/8 × 20 1/8 英寸 (99.4 × 51.1 厘米) 整体 with mounting: 81 1/4 × 26 1/4 英寸 (206.4 × 66.7 厘米) 整体 with knobs: 26 1/4 × 29 英寸 (66.7 × 73.7 厘米)
介绍（中）	也许反映了不稳定的政治气候，地狱法庭（Jigoku Daý）在木版印刷品和绘画中被广泛描绘，尤其是在江户和明治时期的过渡时期。位于高级妓女长袍背面中央的是地狱十王之一的Emma-Ō，她正准备宣判一个罪人。他被有角的恶魔包围，沿着衣服的褶皱战略性地描绘，恶魔的工作是实施惩罚。相比之下，奥比显示了一位带着随从的菩萨，他们作为死者的救世主从天堂降临没有关于这位艺术家或其他具有相同签名的作品的传记信息被曝光。南美春树（1795-1878）的一幅几乎一模一样的画作，日期为1865年，日本私人收藏，无疑是这幅后来作品的灵感来源。
介绍（英）	Perhaps reflective of the unstable political climate, the Hell Courtesan (Jigoku Dayū) was popularly depicted in woodblock prints and paintings especially during the transitional years between the Edo and Meiji periods. Centrally located on the back of the high-ranking courtesan’s robe is Emma-Ō, one of the Ten Kings of Hell, getting ready to sentence a sinner. He is surrounded by horned demons, strategically depicted along the garment folds, whose job it is to carry out punishments. By contrast, the obi shows a bodhisattva with attendants, who are descending from the heaven as saviors for the deceased. No biographical information about this artist or other works with the same signature have come to light. A nearly identical painting by Haruki Nanmei (1795–1878), dated to 1865 and in a private Japanese collection, was no doubt the inspiration for this later work.