{"id":"cma-164625","titulo":{"en":"Su Shi (So Shoku)","es":"Su Shi (So Shoku)"},"titulo_original":"Su Shi (So Shoku)","autor":"Unkoku Tōgan (Japanese, 1547–1618)","fecha":"early 1600s","cultura":"Japan, Momoyama period (1573–1615)","tecnica":"one of a pair of six-panel folding screens; ink, light color, and gold on paper","fuente":"Cleveland Museum of Art","licencia":"CC0-1.0","licencia_url":"https://creativecommons.org/publicdomain/zero/1.0/","credito":"Cleveland Museum of Art, John L. Severance Fund","url_original":"https://clevelandart.org/art/2006.135.1","imagen_url":"https://openaccess-cdn.clevelandart.org/2006.135.1/2006.135.1_web.jpg","ficha":{"en":{"titulo":"Su Shi (So Shoku)","se_ve":"The work is a horizontal six-panel folding screen, its vertical joins dividing the image without breaking the scene. Most of the surface is bare paper in an aged ivory tone, with soft stains and barely visible horizontal folds. At center, slightly left, a tall man walks away from us in a wide bone-colored robe outlined with flowing black ink. He wears a broad, low hat that hides his face; a short sword peeks out behind his waist, and his feet are in dark shoes. To his right, a smaller servant leans forward, hair tied up, leading a gray donkey with a rope. Seen nearly front-on, the animal has long upright ears, a pale saddle, reins, and one hanging stirrup; its rounded body contrasts with the traveler’s upright verticality. Behind them are two tall tree trunks and leafy branches descending from the top edge. The background is a pale, misty slope with no marked horizon. In the lower right corner, angular rocks in gray and black, with small green shrubs and delicate bamboo, anchor the composition. The light is diffuse, the surface matte, and the brushwork combines transparent washes with precise lines. A small red seal is visible at the far right edge.","contexto":"This is one of a pair of six-panel folding screens painted in the early 1600s by Unkoku Tōgan (1547–1618), a Japanese artist from the Momoyama period (1573–1615), according to the Cleveland Museum of Art. The right screen shows the Chinese poet Su Shi, a Song-dynasty figure from the 11th century, setting out into exile after his comments on economic reforms were read as criticism of the emperor. The companion screen showed Pan Lang riding backward on his donkey on returning from exile. Tōgan founded the Unkoku school, which emulated the renowned ink painter Sesshū Tōyō, and served as official painter to the Mōri family.","como_mirarla":"Start with the broad empty surface and notice how little is needed to suggest departure. Then look at the traveler’s back and hidden face: exile is read in his posture and direction. Finally, notice the donkey facing us, which briefly slows the procession and pulls us into the scene.","dato_curioso":"A striking visual detail: the protagonist is the only figure we cannot face. The servant is partly visible and the donkey looks almost directly at us, while Su Shi walks away hidden behind his hat and his back.","preguntas":["What changes if we imagine Su Shi’s hidden face, and why might the painter have withheld it?","How does the large amount of empty paper shape your sense of distance, time, or solitude?","If this journey continued onto another screen, what would you expect to find on it?"]},"es":{"titulo":"Su Shi (So Shoku)","se_ve":"La obra es un biombo horizontal de seis paneles, cuyas uniones verticales dividen la imagen sin interrumpir la escena. La mayor parte de la superficie es papel vacío de tono marfil envejecido, con manchas suaves y pliegues horizontales apenas visibles. En el centro, de espaldas y ligeramente a la izquierda, camina un hombre alto con túnica amplia color hueso, delineada con tinta negra fluida. Lleva un sombrero ancho y bajo que oculta su rostro, una espada corta asoma tras la cintura y sus pies calzan zapatos oscuros. A su derecha, un sirviente de menor escala, inclinado y con el cabello recogido, guía con una cuerda a un burro gris visto casi de frente. El animal tiene orejas largas y erguidas, silla clara, riendas y un estribo colgando; su cuerpo redondeado contrasta con la verticalidad del viajero. Detrás hay dos troncos altos y ramas con hojas que caen desde el borde superior. El fondo es una ladera pálida y neblinosa, sin horizonte marcado. En la esquina inferior derecha, rocas angulosas en gris y negro, con matas verdes y bambú delicado, anclan la composición. La luz es difusa, la textura mate y el trazo combina aguadas transparentes con líneas precisas. En el extremo derecho se distingue un pequeño sello rojo.","contexto":"Es uno de un par de biombos de seis paneles, pintado a inicios del siglo XVII por Unkoku Tōgan (1547-1618), artista japonés del periodo Momoyama (1573-1615), según el Cleveland Museum of Art. Este biombo, el derecho, muestra al poeta chino Su Shi, figura de la dinastía Song del siglo XI, al partir al exilio luego de que sus comentarios sobre reformas económicas se interpretaron como crítica al emperador. El biombo acompañante mostraba a Pan Lang regresando del exilio, montado al revés en su burro. Tōgan fundó la escuela Unkoku, que seguía el estilo del reconocido pintor con tinta Sesshū Tōyō, y fue pintor oficial de la familia Mōri.","como_mirarla":"Empieza por la superficie vacía y nota lo poco que basta para sugerir una partida. Después mira la espalda y el rostro oculto del viajero: el exilio se entiende por su postura y su avance. Al final, fíjate en el burro que nos enfrenta; frena por un momento la marcha y nos mete en la escena.","dato_curioso":"Un detalle visual sorprendente: el protagonista es la única figura a la que no podemos ver de frente. El sirviente se muestra parcialmente y el burro mira casi directo hacia nosotros, mientras Su Shi se aleja, oculto tras el sombrero y de espaldas.","preguntas":["¿Qué cambia si imaginamos el rostro oculto de Su Shi, y por qué el pintor pudo haberlo escondido?","¿Cómo influye el gran espacio de papel vacío en la sensación de distancia, tiempo o soledad?","Si el viaje continuara en otro biombo, ¿qué crees que aparecería en él?"]}},"etiquetas":{"en":["exile","japanese painting","six-panel screen","momoyama period","ink on paper","su shi","traveler","donkey","landscape","emptiness","solitude","bamboo"],"es":["exilio","pintura japonesa","biombo de seis paneles","periodo momoyama","tinta sobre papel","su shi","viajero","burro","paisaje","vacío","soledad","bambú"]},"objetos":["biombo","viajero de espaldas","sombrero ancho","sirviente","burro ensillado","árboles","rocas","bambú","sello rojo"],"colores":["#d9cdb4","#ece6d5","#4a443c","#7a7264","#9c8f78","#5f6f52"],"animo":[],"epoca":"inicios_1600_japones_momoyama","certeza":"alta","advertencias":[],"capa":{"voces":[{"guia":"la restauradora","en":"I pause on the ivory paper and its soft stains, on those faint horizontal creases that show how the screen has breathed for four centuries. I notice the contrast between the transparent wash of the gray donkey and the fluid black line that draws the bone-colored robe of the traveler seen from behind. That huge emptiness is not carelessness, it is a technical choice to support the scene. The small red seal in the corner tells me a hand wanted to fix its presence without breaking the pale mist.","es":"Me detengo en el papel marfil y sus manchas suaves, en esos pliegues horizontales que revelan cómo ha respirado el biombo por cuatro siglos. Observo el contraste entre la aguada transparente del burro gris y la línea negra y fluida que dibuja la túnica hueso del viajero de espaldas. Ese vacío enorme no es descuido, es una decisión técnica para sostener la escena. El sello rojo en la esquina me dice que aquí hubo una mano que quiso fijar su presencia sin romper la niebla pálida."},{"guia":"el astrónomo aficionado","en":"This ivory emptiness reminds me of the sky before dawn, when there are still no stars. The tall traveler with the wide hat walks beneath two trunks that look like fallen constellations, as if the leaves were hanging from the edge of the universe. The small gray donkey facing forward is his companion planet, tied by an invisible string of gravity. The rocks and bamboo in the corner are his only horizon, a misty slope that suggests a boundless cosmos where exile is a long and silent journey.","es":"Este vacío color marfil me recuerda al cielo antes del amanecer, cuando aún no hay estrellas. El viajero alto con sombrero ancho avanza bajo dos troncos que parecen constelaciones caídas desde arriba, como si las hojas colgaran del borde del universo. El burro gris, pequeño y frontal, es su planeta compañero, atado por una cuerda invisible de gravedad. Las rocas y el bambú en la esquina son su único horizonte, una ladera neblinosa que sugiere un cosmos sin límites donde el exilio es un viaje largo y silencioso."},{"guia":"la niña de ocho años","en":"I like that the man is seen from behind and we cannot see his face, as if he were playing hide and seek with his big hat. His tiny servant leads the gray donkey that looks at me with its pointy ears, it seems about to say hello. There is a lot of empty paper, as if they left space to draw invisible clouds. The little rocks with bamboo at the bottom are my favorite part, they look like a little house for traveling ants. Everything feels calm, like a slow walk with no hurry.","es":"Me gusta que el señor va de espaldas y no le vemos la cara, como si jugara a esconderse con su sombrero grande. Su sirviente chiquito lleva al burro gris que me mira con sus orejas paradas, parece que va a decir hola. Hay mucho papel vacío, como si hubieran dejado espacio para dibujar nubes invisibles. Las roquitas con bambú de abajo son mi parte favorita, parecen una casita para hormigas viajeras. Todo se ve tranquilo, como una caminata sin prisa."}],"retos":[{"pregunta":{"en":"What color is the animal that is tied with a rope and looks almost straight ahead?","es":"¿De qué color es el animal que va atado con una cuerda y mira casi de frente?"},"pista":{"en":"It is the four-legged companion of the traveler seen from behind, it wears a light saddle and has long ears.","es":"Es el compañero de cuatro patas del viajero de espaldas, lleva silla clara y orejas largas."}},{"pregunta":{"en":"How many panels make up this horizontal screen and what red mark appears in the lower right corner?","es":"¿Cuántos paneles forman este biombo horizontal y qué marca roja aparece en la esquina inferior derecha?"},"pista":{"en":"Count the vertical joints and then look for the small colorful detail near the rocks and bamboo.","es":"Cuenta las uniones verticales y luego busca el pequeño detalle colorido cerca de las rocas y el bambú."}},{"pregunta":{"en":"What thin green element grows next to the angular rocks that anchor the lower corner?","es":"¿Qué elemento verde y delgado crece junto a las rocas angulosas que anclan la esquina inferior?"},"pista":{"en":"It is a delicate plant that appears with the green tufts on the gray and black stones.","es":"Es una planta delicada que acompaña a las matas verdes sobre las piedras grises y negras."}}],"conexiones":["exilio y viaje","vacío en la pintura con tinta","biombo de seis paneles","sombrero ancho y túnica del viajero","burro como compañero","rocas y bambú como anclaje","sello rojo del artista","periodo Momoyama"]},"salas":[],"escrita_por":"muse-wonder-1.0"}