潘塔隆 - 美国大都会艺术博物馆展品查阅

品名（中）	潘塔隆
品名（英）	Pantaloon
入馆年号	1964年，64.101.86
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Meissen Manufactory【1710 至现在】【德国人】
创作年份	公元 1705 - 公元 1718
创作地区
分类	陶瓷陶器（Ceramics-Pottery）
尺寸	高: 8 1/8 英寸 (20.6 厘米)
介绍（中）	到了18世纪中叶，欧洲各地的瓷器厂的造型师都喜欢使用"艺术作品"（commedia dell‘arte），而这种风格在17世纪30年代开始在迈森工厂首次得到充分发掘。此外，迈森制作的红色石器人物是最早的，如果不是最早的话，也是以陶瓷为媒介的艺术作品中最早的人物。[12] 这些人物在造型方面非常雄心勃勃，他们的动态姿势巧妙地表达了主题的戏剧性质（64.101.86）。目前还不知道制作了多少个人物，但根据幸存的例子，他们的数量似乎很少脚注（有关缩短参考文献的关键信息，请参见Munger的参考书目，大都会艺术博物馆的欧洲瓷器。纽约：大都会艺术馆，2018年） <> [12]大约1700年，至少有两件红色陶俑在代尔夫特制作，其中一件描绘了哈林，有趣的是，1721年，奥古斯都·斯特朗（Augustus the Strong）的日本宫殿（Japanese Palace）中出现了一个哈林的例子，展示了他的陶瓷收藏品；奇尔顿2001，第322页，第139号。有人认为，这一数字可能启发了迈森的建模师制作红色石器艺术作品；奇尔顿1998年。
介绍（英）	By the mid-eighteenth century in Europe the commedia dell’arte was a popular source for modelers at porcelain factories throughout the Continent, and this genre was first fully explored at the Meissen factory beginning in the 1730s. In addition, the red-stoneware figures produced at Meissen are among the earliest, if not the very earliest, representations of commedia dell’arte characters in the medium of ceramics.[12] These figures are remarkably ambitious in terms of their modeling, and their dynamic poses skillfully express the theatrical nature of the subject matter (64.101.86). It is not known how many figures were produced, but based upon surviving examples, it appears that they were made in very small numbers. Footnotes (For key to shortened references see bibliography in Munger, European Porcelain in the Metropolitan Museum of Art. NY: The Metropolitan Museum of Art, 2018) [12] At least two red-earthenware figures, one of which depicts Harlequin, were made in Delft in the years around 1700, and interestingly an example of Harlequin appears in a 1721 inventory of Augustus the Strong’s Japanese Palace, where his ceramic collec-tion was displayed; Chilton 2001, p. 322, no. 139. It has been suggested that this figure may have inspired the modelers at Meissen to make the red-stoneware commedia dell’arte figures; Chilton 1998.