给Shunkin的信 - 美国大都会艺术博物馆展品查阅

品名（中）	给Shunkin的信
品名（英）	Letter to Shunkin
入馆年号	2019年，2019.420.27
策展部门	亚洲艺术（Asian Art）
创作者	Urakami (Uragami) Gyokudō 浦上玉堂【1745 至 1820】【日本人】
创作年份	公元 1767 - 公元 1820
创作地区
分类	书法（Calligraphy）
尺寸	图像: 8 3/8 × 10 1/4 英寸 (21.2 × 26 厘米) 整体 with mounting: 38 9/16 × 16 9/16 英寸 (98 × 42 厘米)
介绍（中）	这封信现在被挂在卷轴上，是南迦文学家Gyokudō写给他的儿子Shunkin（1779-1846）的私人信件，Shunkin也是一名画家。它采用行书和楷书的组合，偶尔还会有草书，有一种非正式的品质，但仍然展示了艺术家的书法技巧。在这里，Gyokudō避免使用他经常在画作上签名和题词时使用的精心书写的过时文字。汉字，包括汉字和日本本土假名，在一些地方有丰富的深色墨水，而在另一些地方则是苍白的，笔触中有断裂，这表明艺术家在他的画笔上涂了墨水，然后写到画笔几乎干了才重新上墨水。 Gykudō-出生于一个高级武士家庭，但决心从事画家、音乐家、，作曲家是十八世纪后期南迦派"第二次开花"中涌现出来的最重要、最有个性的艺术家之一。辞去冈山大名（军阀）的职务后，他四处游历，教授古琴，然后与顺金一起定居京都，专注于山水画艺术。在他的书法中，可以看到他绘画中引人注目的风格元素，有节奏的笔触和粗细线条之间的对比。
介绍（英）	This letter, now mounted as a hanging scroll, is a personal missive from the Nanga (Literati) artist Gyokudō to his son Shunkin (1779–1846), who was also a painter. Brushed in a combination of running and standard scripts, with the occasional cursive character, it has an informal quality but still exhibits the artist’s calligraphic skill. Here Gyokudō eschewed the use of the carefully written, antiquated characters he often applied for his signatures and title inscriptions on paintings. The characters, both Chinese kanji and native Japanese kana, are in some places rich with dark ink, while in others they are pale, with breaks in the brushstrokes, indicating that the artist inked his brush and then wrote until his brush was nearly dry before re-inking it. Gykudō—born to a high-ranking samurai family but determined to pursue the career of a painter, musician, and composer—is one of the most important and idiosyncratic artists to emerge from the “second flowering” of the Nanga school in the late eighteenth century. After resigning from his post in the household of the daimyo (warlord) of Okayama, he traveled extensively, giving instruction on the zitherlike qin, before settling in Kyoto with Shunkin and concentrating on the art of landscape painting. An element of the compelling style that characterizes his paintings is visible in his calligraphy, with its rhythmic movement of the brush and contrast between thick and thin brush lines.