月光下的风景 - 美国大都会艺术博物馆展品查阅

品名（中）	月光下的风景
品名（英）	Moonlit Landscape
入馆年号	2020年，2020.392
策展部门	亚洲艺术（Asian Art）
创作者	Nagasawa Rosetsu 長澤蘆雪【1754 至 1799】【日本人】
创作年份	公元 1794 - 公元 1795
创作地区
分类	绘画（Paintings）
尺寸	图像: 38 3/8 × 15 15/16 英寸 (97.5 × 40.5 厘米) 整体 with mounting: 74 × 21 1/4 英寸 (188 × 54 厘米) 整体 with knobs: 74 × 23 1/4 英寸 (188 × 59.1 厘米)
介绍（中）	Nagasawa Rosetsu是江户时代晚期最熟练、风格最多样化的水墨画家之一，他描绘了一幅由月亮照亮的山脉风景的忧郁、大气的场景，并在保留地进行了渲染。云朵在天空中移动，唤起了一种略显诡异的感觉，并让人想起了罗斯通和其他人对东亚传说中想象中的龙的描绘。松树的大胆轮廓与使用tsukatefude制作的灰色水洗形成对比付立筆, 一种宽刷子，刷毛长而柔韧，用来创造没有轮廓的山坡轮廓。这幅画将分多个阶段进行，让每一层墨水在涂上下一层之前完全干燥。这幅画的上部完全是空白的，除了艺术家用潮湿的画笔粗略地刻下的签名和他的双印章的红色口音。夸张拉长的写作方式蘆他的名字，好像它由两个独立的字符组成艹和庵, 是他职业生涯后期的标志性风格中经常遇到的特质从艺术家职业生涯的早期阶段起，月光风景的图像就是他最喜欢的作品主题，正如大都会博物馆收藏的一对屏风上的画作所证明的那样（1975.268.72，.73），直到他职业生涯的结束，如图所示。在他生命的最后五年左右，从1794年前往广岛和Itsukushima（一座著名的神道神社所在地）开始，他创作了几个以满月为主题的排列。最著名的例子是由位于Hyōgo县的Egawa艺术博物馆保存的，近年来，明尼阿波利斯艺术学院收藏了两个主题的变体（编号：2015.7.9.164；2013.31.35）。在前者中，一棵灰色的松树再次直接勾勒出月亮的轮廓；在明尼阿波利斯的例子中，抽象的云层形成类似于一条龙升上天空或在被遮蔽的悬崖上盘旋。
介绍（英）	One of the most skillful and stylistically diverse ink painters of the late Edo period, Nagasawa Rosetsu has conjured up a moody, atmospheric scene of a mountain landscape illuminated by a moon, rendered in reserve. Wisps of cloud moving across the sky evoke a slightly eerie feeling and call to mind the representation of imaginary dragons of East Asian lore by Rosetsu and others. The bold silhouettes of pine trees contrast with gray washes created using a tsuketatefude 付立筆, a wide brush with long, flexible bristles, to create the contours of the mountainside without outlines. The painting would have been executed in multiple stages, allowing each layer of ink wash to completely dry before the next was applied. The upper expanse of the painting is entirely blank, except for the artist’s signature—cursorily inscribed with a moist brush—and the red accent of his double seal. The exaggeratedly elongated manner of writing Ro 蘆 of his name, as if it comprised two separate characters 艹 and 庵, is a frequently encountered idiosyncrasy of his late-career signature style. Images of moonlit landscapes were a favorite subject of the artist’s oeuvre from the earliest stages of his career, as attested by the paintings attached to a pair of screens in The Met’s collection (1975.268.72, .73), right up until the end of his career, as demonstrated here. During the last five or so years of his life, beginning when he was travelling to Hiroshima and Itsukushima (site of a famous Shinto shrine) in 1794, he created several permutations of the theme of a full moon with clouds. The most famous example is preserved by the Egawa Museum of Art in Hyōgo prefecture, and two variations on the theme have in recent years entered the collection of the Minneapolis Institute of Art (acc. nos. 2015.79.164; 2013.31.35). In the former, a pine tree in grey wash is silhouetted directly again the moon; in the Minneapolis examples abstract cloud formations resemble a dragon ascending to the heavens or hover over obscured mountain cliffs.