常设法院 - 美国大都会艺术博物馆展品查阅

品名（中）	常设法院
品名（英）	Standing Courtesan
入馆年号	2015年，2015.300.121
策展部门	亚洲艺术（Asian Art）
创作者	Tōsendō Rifū【1720 至 1740】【日本人】
创作年份	公元 1710 - 公元 1730
创作地区
分类	绘画（Paintings）
尺寸	图像: 28 1/8 × 13 1/8 英寸 (71.4 × 33.4 厘米) 整体 with mounting: 59 1/16 英寸 (150 厘米) 整体 with knobs: 59 1/16 × 17 7/16 英寸 (150 × 44.3 厘米)
介绍（中）	艺术家捕捉到了一个女人的优雅外表，可能是一个高级，穿着优雅的长袍和用纸丝带绑着的飘逸长发。东山堂里夫是从开越堂工作室走出来的专业浮世绘画家之一，他模仿了其渲染娱乐区美女的风格。这幅画有一个铭文，是在画作创作后添加的，由神道教牧师加茂之助，也是艺术家活跃后一两代的著名诗人。他温柔的曲线书法反映了江户时代流行的灵芝宫廷风格的影响。绘画所有者的常见做法是要求当时的杰出文人用独特的手刻上一幅画，以便为作品增添另一个层次的乐趣。这里的铭文是： Sanagara ni mono ii emeru sugata-e no fude no nioi mo tare ka shinobamu 创作这幅肖像的画笔的味道和香味，看起来如此真实，仿佛她会说话和微笑，让我渴望认识她。 ——加茂之介的诗（译者：约翰·
介绍（英）	The artist has captured the elegant appearance of a woman, probably a high-ranked courtesan, in elegant robes and long, flowing hair tied with paper ribbons. Tōsendō Rifu was among the specialist ukiyo-e painters who emerged from the Kaigetsudō studio and emulated its style of rendering beauties of the pleasure quarter. The painting has an inscription, added after the painting was created, by Kamo no Suketame, a Shinto priest and noted poet of a generation or two after the artist was active. His gentle, curvilinear calligraphy reflects the influence of the prevalent Reizei courtly style of the Edo period. It was a common practice for owners of paintings to ask prominent literati of their day to inscribe a painting in a distinctive hand in order to add another level of enjoyment to the work. Here the inscription reads: Sanagara ni mono ii emeru sugata-e no fude no nioi mo tare ka shinobamu The flavor and fragrance of the brush that created this portrait, seeming so real, as if she can speak and smile, makes me long to know her. —Poem by Kamo no Suketame (Trans. John T. Carpenter)