Most of the 60 paintings in the museum’s current reinstallation, “Companions in Solitude: Reclusion and Communion in Chinese Art,” were never meant to have prolonged exposure. Some were conceived as album pages and kept between closed covers. Many in the form of scrolls were stored rolled up and brought out for occasional one-on-one viewing or as conversation starters at parties. (For reasons of conservation, the paintings on view now, which range from the 11th to the 21st century, will stay out until early January, and then be replaced by others.)博物馆目前重新展出的《幽居有伴——中国画中的隐逸与交游》(Companions in Solitude: Reclusion and Communion in Chinese Art)的60幅画作，大部分是根本不适合长时间曝露在光线下的。
《幽居有伴》中的大部分画作都是风景，很多不是按地名——某某山、某某湖——而是按季节来区分的，仿佛天气变化才是真正的主题.In paintings like “Winter Landscape,” attributed to the 16th-century artist Jiang Song, or “Autumn Colors Among Streams and Mountains” by the great Ming dynasty master Shen Zhou, nature seems less to be depicted than hallucinated. It’s in motion, in a state of molecular dispersal. Mountains dissolve into clouds, earth into water as you look.在16世纪画家蒋嵩的《冬景山水图》或明代大师沈周的《溪山秋色》等画作中，与其说是描绘自然，不如说是幻觉中的自然。
In some paintings, such as “Winter Landscape with Fisherman” by Shi Zhong, who lived during the Ming dynasty (1368-1644), the idea of reclusion feels theoretical. Images of fishermen and woodcutters going about their tasks correspond to those of shepherds in the pastoral tradition of European art. These fantasies of the carefree, nature-bound lives of the rural poor offer examples to be admired, but from a distance.在一些画作中，例如生活在明朝（1368–1644年）的史忠的《雪景山水图》，隐居的想法只是理论上的 ... 阅读全文
《幽居有伴》中的大部分画作都是风景，很多不是按地名——某某山、某某湖——而是按季节来区分的，仿佛天气变化才是真正的主题.In paintings like “Winter Landscape,” attributed to the 16th-century artist Jiang Song, or “Autumn Colors Among Streams and Mountains” by the great Ming dynasty master Shen Zhou, nature seems less to be depicted than hallucinated. It’s in motion, in a state of molecular dispersal. Mountains dissolve into clouds, earth into water as you look.在16世纪画家蒋嵩的《冬景山水图》或明代大师沈周的《溪山秋色》等画作中，与其说是描绘自然，不如说是幻觉中的自然。
In some paintings, such as “Winter Landscape with Fisherman” by Shi Zhong, who lived during the Ming dynasty (1368-1644), the idea of reclusion feels theoretical. Images of fishermen and woodcutters going about their tasks correspond to those of shepherds in the pastoral tradition of European art. These fantasies of the carefree, nature-bound lives of the rural poor offer examples to be admired, but from a distance.在一些画作中，例如生活在明朝（1368–1644年）的史忠的《雪景山水图》，隐居的想法只是理论上的 ... 阅读全文