《千年诗集》中的瓦卡诗，续 - 美国大都会艺术博物馆展品查阅

品名（中）	《千年诗集》中的瓦卡诗，续
品名（英）	Waka poems from the Collection of Poems of a Thousand Years, Continued
入馆年号	2018年，2018.853.14
策展部门	亚洲艺术（Asian Art）
创作者	Kojima Sōshin【1580 至 1656】【日本人】
创作年份	公元 1651
创作地区
分类	书法（Calligraphy）
尺寸	图像: 11 1/4 英寸 × 30 ft. 3 3/16 英寸 (28.5 × 922.5 厘米) 整体 with mounting: 11 1/4 英寸 × 31 ft. 7 5/16 英寸 (28.5 × 963.5 厘米)
介绍（中）	装饰华丽的纸上优雅的画笔书法抄录了《千年诗集续》（Zoku senzai wakashū）中的一系列古典和歌诗，这是千载书皇家委托诗歌选集（约 1187/8 年）的增强版 14 世纪版本。按照chirashi-gaki或"分散的文字"（垂直文本行从不同高度开始）的惯例刻在这个丝绸手卷上，装饰着水平的金雾带和小簇花和岩石。诗歌文本以流动的假名（日本音节字符）和汉字（汉字）穿插，之后是著名书法家本见光越（1558-1637 年）的学生小岛宗信的签名和两个印章，他是林巴学派的创始人之一。宗信流畅的写作风格反映了恭越的影响，刻意将粗细的笔线与强烈的毛笔字并列。散落、精致的花卉和岩石图案的微妙底漆反映了早期林巴画家和设计师的审美影响，它使用了tarashikomi技术（允许颜料和/或墨水聚集在一起）;艺术家绪方尚贤是宗信的学生之一，也是两位最伟大的临巴学派大师绪方光林（1658-1716）和绪方健山（1663-1743）的父亲。除了绘画之外，他还练习书法，其中的例子与Sōshin的写作风格相似，并为他自己的一些书法作品制作了底画。
介绍（英）	The elegantly brushed calligraphy on lavish decorated paper transcribes a series of classical waka poems from the Collection of Poems of a Thousand Years, Continued (Zoku senzai wakashū), an augmented fourteenth century version of the Senzai shū imperially-commissioned poetry anthology (ca. 1187/8). Inscribed in according to the conventions of chirashi-gaki, or “scattered writing” (with vertical lines of text beginning at different heights), on this silk handscroll decorated with horizontal bands of gold mist and small clusters of flowers and rocks. Brushed in flowing kana (Japanese syllabic characters) interspersed with kanji (Chinese characters), the poetic text is followed by the signature and two seals of Kojima Sōshin, a student of the renowned calligrapher Hon’ami Kōetsu (1558–1637), one of the founders of the Rinpa school. Sōshin’s fluid writing style reflects the influence of Kōetsu in the deliberate contrast of thick and thin brush lines, juxtaposed with strongly brushed Chinese characters. The subtle underpainting of scattered, delicate floral and rock motifs reflects the aesthetic influence of early Rinpa painters and designers with its use of the tarashikomi technique (allowing pigments and/or ink to pool together); the artist, Ogata Sōken, was one of Sōshin’s pupils and also the father of two of the greatest Rinpa-school masters, Ogata Kōrin (1658–1716) and Ogata Kenzan (1663–1743). In addition to painting he practiced calligraphy, examples of which bear a resemblance to Sōshin’s writing style, and produced the underpaintings for some of his own calligraphic works.