舞剑者 - 美国大都会艺术博物馆展品查阅

品名（中）	舞剑者
品名（英）	Dancer with a Sword
入馆年号	2018年，2018.853.17
策展部门	亚洲艺术（Asian Art）
创作者	Unidentified
创作年份	公元 1660 - 公元 1680
创作地区
分类	绘画（Paintings）
尺寸	图像: 17 5/16 × 10 13/16 英寸 (44 × 27.5 厘米) 整体 with mounting: 50 3/8 × 19 1/8 英寸 (128 × 48.6 厘米) 整体 with knobs: 50 3/8 × 21 1/4 英寸 (128 × 54 厘米)
介绍（中）	穿着梦幻服装的舞者为熟悉日本服装历史的人创造了一个视觉难题。乍一看，我们会想象这一定是一个戴着eboshi（宫殿头饰）的男性朝臣，上面绑着精致的红色丝绳，戴着礼仪剑。腰带背面附有传统上与神道教仪式相关的仪式纸棒。然而，在表演史上看，另一种解释却在展开。一方面，这种服装与中世纪早期的女性白比西表演者非常相似，她们穿着朝臣长袍变装，用优雅的舞蹈和歌曲来娱乐贵族，有时还充当多情的伴侣。然而，这幅画可以追溯到 17 世纪后期，捕捉了一位表演 otokomai（字面意思是"男子汉舞蹈"）的女性表演者的外表。由于发型，帽子下方的直立顶结是一种扁桃体风格，与男性青少年表演者有关，通常被称为wakashu或"青年"。因此，这幅画捕捉了十七世纪下半叶年轻女性穿着不合时宜的贵族时尚的时尚表演。异装癖娱乐、对权威的嘲笑以及神话般的过度时尚感在私人和公共舞台上都广受欢迎。流派画的整个子流派，与 1670 年代和 80 年代的"汉文时代的美女"汉文美人画平行并同时制作，展示了年轻女性穿着同样华丽的外衣。这种男性和女性个人艺人的图像在空白的背景下，预示着浮世绘和版画的类型，这些流派将与十七世纪末的新形式的通俗文学一起出现。
介绍（英）	The dancer in fantastic costume creates a visual conundrum to anyone familiar with the history of Japanese dress. At first glance we would imagine this must be a male courtier wearing an eboshi (palace headgear) tied with elaborate red silk cords and donning ceremonial swords. Attached to the backside of the sash are ceremonial paper wand traditionally associated with Shinto rituals. Yet viewed in the history of performance, another interpretation unfolds. On one hand, the costume closely resembles that of female shirabyōshi performers of the early medieval times who cross-dressed in courtier robes for entertaining nobility with elegant dances and songs, and also sometimes serving as amorous companions. Yet this painting dates to the late seventeenth century, and captures the appearance of a female performer who performed otokomai, literally “manly dances.” Further visual confusion is caused because the hairstyle since, the upright topknot below the hat is a tonsorial style associated with male teenage performers generically referred to as wakashu, or “youths.” Thus the painting captures a fashionable type of performance of the second half of the seventeenth century of young women wearing anachronistic aristocratic fashion. The frisson of transvestite entertainment, poking fun at authority, and fabulous over-the-top fashion sensibility enjoyed widespread popularity both in private and public stages. An entire subgenre of genre painting, being produced parallel and simultaneously with paintings called Kanbun bijin, “beauties of the Kanbun period.” of the 1670s and 80s, which showed young women donning similarly gorgeous raiment. Such images of individual entertainers, male and female, against a blank background anticipated the genre of ukiyo-e paintings and prints that would emerge along with new forms of popular literature at the end of the seventeenth century.