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Its motif is taken from the Aoi chapter of The Tale of Genji. Hikaru Genji joined the purification parade of the priestess of Kamo Shrine. Amidst of the crowd who gathered to see him, there occurred a conflict between the Lady Aoi (Aoi no Ue) party and the Lady Rokujou (Rokujou no Miyasudokoro) party concerning the positions of their ox carriages to have a better view of the parade. From ancient times, this scene had been favored, being painted from a bird's-eye view, and called \"The Scene of Aoi.\" This piece is a successful result of Kano's study of Yamato-e (lit. Japanese painting, a late Heian style of Japanese painting).","@language":"en"},{"@value":"原九条家的《源氏之间》隔扇画改制而成的四折一扇屏风。内容取材于《源氏物语》的《葵》之卷。在熙熙攘攘的人群中，为了一睹参加贺茂斋院举行的御禊(祓禊)（天皇即位后，在大尝会之前举行的祓禊。）仪式的光源氏风采，葵之上一行人与六条御息所一行人双方随从因为争夺牛车的停车位而发生争执。自古《葵》之图就深受人们喜爱，而采用鸟瞰法（chokanho）的构图画面，如实地体现了他在大和绘（为了区别于中国的唐画。平安时代对唐朝画风与日式风格结合的所有风俗画与传统绘画的总称。镰仓时代以后，由于将中国宋元风格的绘画、特别是水墨画称为唐画、汉画，大和绘是与此相对的说法。）研究方面的成就。","@language":"zh"},{"@value":"원래 구조 가(家)의 그림인 ‘겐지노마’라는 후스마에(맹장지에 그린 그림)를 네 폭 한 쪽 병풍으로 만든 것. “겐지 모노가타리”의 ‘아오이’ 편에 근거한 내용이다. 가모의 사이인의 몸을 씻는 행렬에 있던 히카리 겐지의 모습을 보기 위해 몰래 군중 속에서 아오이의 일행과 육조의 미야스도코로 일행이 우차(牛車)를 놓을 곳을 두고 싸우게 된다. 예로부터 ‘아오이’의 그림으로 사랑받아 왔으며 조감법으로 그려진 그의 그림에서는 야마토에(일본화의 한 유파) 연구의 성과가 여실히 나타나 있다. 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