圣乌苏拉同伴的宗教半身像 - 美国大都会艺术博物馆展品查阅

品名（中）	圣乌苏拉同伴的宗教半身像
品名（英）	Reliquary bust of a companion of Saint Ursula
入馆年号	1917年，17.190.728
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者
创作年份	公元 1515 - 公元 1535
创作地区
分类	雕塑（Sculpture）
尺寸	高: 17 7/8 英寸 (45.4 厘米)
介绍（中）	这件作品是二十三件相关的圣物半身像之一，其中许多都有西班牙血统。除了圣人胸前可见的隔间外，她头顶的铰链开口还可以进入另一个遗物容器。虽然长期以来被认为是西班牙的，但这一系列的半身像在风格上更接近来自酸涩低地（布拉班特或布鲁塞尔）的雕塑家的作品，他们对哥特式晚期的西班牙雕塑产生了深远的影响。一些例子很可能是由布拉班特艺术家在十五世纪末和十六世纪初的这段政治和艺术关系密切的时期迁移到西班牙的。另一种可能的解释是，哈布斯堡王朝皇帝查理五世将这些碎片捐赠给了西班牙教堂，或者西班牙官员在布鲁塞尔的宫廷中获得了这些碎片并将它们带回西班牙。这位圣人的传说如下：圣厄休拉讲述了一位基督教公主答应给一位异教王子，她与她的 11，000 名少女同伴一起去朝圣。他们都被匈奴人杀害了，但他们以鬼魂的身份重新出现，导致匈奴人逃跑。1106年，在科隆发现了大量遗骸;由于它们被认为是乌苏拉及其追随者的遗物，因此制作了许多类似类型的圣物箱来容纳它们。处女烈士的奢华服装是为了唤起他们的社会地位，也许是为了鼓励富裕家庭的女孩成为修女。
介绍（英）	This piece is one of twenty-three related reliquary busts, many of which have a Spanish provenance. In addition to the compartment visible on the saint's chest, a hinged opening at the top of her head gives access to another relic container. Although long believed to be Spanish, this series of busts is closer in style to the work of sculptors from the sourthern Lowlands (Brabant or possibly Brussels), whose influence on Spanish sculpture in the late Gothic period was profound. Some examples may well have been carved in Spain by Brabantine artists who migrated to Spain during this period of close political and artistic relations at the end of the fifteenth and in the early sixteenth century. Another possible explanation is that the Hapsburg emperor Charles V donated the pieces to Spanish churches, or that Spanish officials at his court in Brussels acquired the pieces and brought them back to Spain. The legend of this Saint goes as follows: Saint Ursula tells of a Christian princess promised to a pagan prince who went on a pilgrimage with her 11,000 maiden companions. All of them were murdered by Huns, but they reappeared as ghosts and caused the Huns to flee. In 1106 a large cache of remains was found in Cologne; as they were believed to be the relics of Ursula and her followers, many reliquaries of a similar type were made to house them. The lavish dress of the virgin martyrs was meant to evoke their social status and perhaps to encourage girls from affluent families to become nuns.