野人 - 美国大都会艺术博物馆展品查阅

品名（中）	野人
品名（英）	Wild Man
入馆年号	1982年，1982.60.124
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 1500 - 公元 1599
创作地区
分类	金属制品黄铜（Metalwork-Brass）
尺寸	高: 6 3/4 英寸 (17.1 厘米)
介绍（中）	这尊小雕像被收录在1980年修道院的展览"野人：中世纪神话和象征主义"中。[1]多毛物种一直存活到十六世纪，特别是在阿尔布雷希特·丢勒的形象中，但越来越多地扮演纹章角色。毫无疑问，我们的例子是他举起的右手挥舞着棍棒，用他放下的左手（那里有别针的残骸）稳定了盾牌，就像在各种早期器皿上充当支撑人物或顶端的野人一样。[2]他可能充当了诸如大型坦克之类的物体的支撑或顶端;他的座位上和头顶上的大洞表明，附着的地方可能在两端。林斯基野人说明了迪南德里在十六世纪幸存下来的基本保守主义，唯一的新颖之处是他的毛皮特征的菱形凿子。 [James David Draper， The Jack and Belle Linsky Collection in the Metropolitan Museum of Art， New York， 1984， pp. 165–66， no. 81] 註： [1] Timothy Husband的展覽目錄（同名）展示了中世紀藝術和文學中野人發展的背景。 [2] 参见《修道院》目录第50-52号。
介绍（英）	This statuette was included, hors catalogue, in the 1980 exhibition at The Cloisters, “The Wild Man: Medieval Myth and Symbolism.”[1] The hirsute species survived well into the sixteenth century, notably in the imagery of Albrecht Dürer, but in an increasingly heraldic role. Our example no doubt brandished a club in his raised right hand and with his lowered left (where there are remains of a pin) steadied a shield, as did the Wild Men that functioned as supporting figures or finials on various earlier utensils.[2] He might have served as either a support or a finial for an object such as a large tankard; wide holes in his seat and in the top of his head indicate that the place of attachment could have been at either end. The Linsky Wild Man illustrates the fundamental conservatism of dinanderie as it survived into the sixteenth century, the only novelty being the diamond-shaped gouges that characterize his hairy hide. [James David Draper, The Jack and Belle Linsky Collection in the Metropolitan Museum of Art, New York, 1984, pp. 165–66, no. 81] Footnotes: [1] The exhibition catalogue by Timothy Husband (which bears the same title) presents the background for the development of the Wild Man in medieval art and literature. [2] See nos. 50–52 in The Cloisters catalogue.