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美国纽约大都会艺术博物馆展品查阅
美国纽约大都会艺术博物馆展品查阅
美国大都会艺术博物馆中的24万件展品,图片展示以及中文和英文双语介绍(中文翻译仅供参考)
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品名(中)带冠双头鹰的纺织品
品名(英)Textile with crowned double headed eagles
入馆年号1912年,12.55.4
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 1550 - 公元 1599
创作地区
分类机织纺织品(Textiles-Woven)
尺寸20 × 22 英寸 (50.8 × 55.9 厘米)
介绍(中)作为哈布斯堡王朝的象征,皇冠和八字双头鹰被编织在这种中国纺织品中,这是16世纪末为葡萄牙和西班牙市场制造的一大系列相关产品之一。该集团代表了一个早期的复杂丝绸出口生产,融合了伊比利亚和亚洲的美学和设计。在这个例子中,鹰的爪子上握着刺穿心形花瓶的箭。箭扎心的图案与奥古斯丁的宗教秩序有关,而花瓶的图案在中国很受欢迎


这里看到的虔诚和世俗的图像融合在一起,可能是委托制作布料的织工大师自由支配的结果。尽管图案、颜色和总体布局具有显著的欧洲特色,但许多细节表明设计中有亚洲人的手。例如,卷动藤蔓上形状奇特的叶子,与我们可能会发现的欧洲五加叶相比,更像中国的花卉图案,尤其是与贯穿始终的葡萄果簇图案相关。此外,风格化的深蓝色花朵是中国牡丹;它们与雄鹰交替出现,雄鹰伸展、直立的颈部羽毛和有图案的胸部让人想起中国工匠有时用来描绘凤凰形象的图形手段。可能是编织者修改了原始来源(可能是欧洲印刷品),将这些亚洲元素融入了整个欧洲格式


一组相关的丝绸,可能来自不同的车间,具有这里看到的一些设计特征,包括在滚动的藤蔓中夹着双头鹰的箭头,尽管在这组丝绸中,鹰被包含在由绿叶边界划定的窄垂直面板内。具有这种设计的纺织品有多个例子;一般来说,它们有相同的深红色(紫胶染料)地面,并有两种颜色,蓝色和黄色。除了丝绸,这些精细的织物还结合了纸上的金箔平线,这是东亚作品的典型。¹一个完整的镜(多伦多皇家安大略博物馆)和一个由这种织物制成的chasubor(伦敦维多利亚和阿尔伯特博物馆)的一部分,证实了它曾用于基督教教会的服装。²这组丝绸的确切生产地点不详,但伊比利亚和亚洲图案和风格的结合是通过16世纪主要贸易中心澳门出口的典型产品

虽然其他澳门丝绸具有类似的设计元素,但本例的颜色方案(其图案为绿色、蓝色和黄色)是与众不同的。根据箭刺穿心脏的主题,有人提出,这种织物是专门为活跃在菲律宾的奥古斯丁人制作的,但西班牙、葡萄牙和其他欧洲中心发现的例子表明,这可能是更大的伊比利亚贸易的一部分

[梅琳达·瓦特(Melinda Watt),改编自Interwoven Globe,The Worldwide Textile Trade,1500-1800/Amelia Peck编辑;纽约:大都会艺术博物馆;纽黑文:耶鲁大学出版社发行,2013年]

脚注:

1。大都会收藏有两个例子:根据编号34.41.9(红色、蓝色和黄色)和34.41.1(蓝色和蓝色)。大都会博物馆科学研究部的Nobuko Shibayama使用高效液相色谱光电二极管阵列(HPLC-PDA)分析了这种纺织品中使用的染料。红色是紫胶染料,黄色来自亚洲槐树。另见Digby,"远东地区受葡萄牙影响编织的一些丝绸",第52-63页。

2。关于多伦多丝绸(编号973.422),请参见Vollmer、Keall和Nagai Berthrong,《丝绸之路》,《中国船舶》,第19页,Mayer等人,《为上帝服务筹集资金》,第154-55页。伦敦的例子(编号T215-1910)可以在博物馆的网站上看到,http://collections.vam.ac.uk/item/O486944/fragment-unknown/.(维多利亚和阿尔伯特博物馆的其他例子包括编号T.217-1910和T.169-1929)。
介绍(英)Crowned and splayed double-headed eagles, symbols of the Habsburg dynasty, are woven into this Chinese textile, one of a large group of related examples made for the Portuguese and Spanish market in the last part of the sixteenth century. The group represents an early production for export of complex woven silks that integrate both Iberian and Asian aesthetics and design. In this example, the eagle holds in its talons arrows that pierce a heart-shaped vase. The device of a heart pierced by arrows is associated with the Augustinian religious order, while representations of floral vases were popular motifs in China.


The conflation of pious and secular imagery seen here may be the result of free rein being given to the master weaver commissioned to produce the cloth. Although the pattern, colors, and general layout have a notable European character, a number of details point to an Asian hand in the design. The form of the oddly shaped leaf on the scrolling vines, for example, resembles Chinese floral patterns more than the European acanthus leaves we might expect to find, especially as associated with the grapelike fruit cluster motif that repeats throughout. Additionally, the stylized dark blue flowers are Chinese peonies; they alternate with the eagles, whose extended, erect neck feathers and patterned breasts recall the graphic means sometimes used by Chinese artisans to render the image of a phoenix. It could be that the weaver modified an original source (perhaps a European print) to incorporate these Asian elements within the overall European format.


A related group of silks, possibly from a different workshop, shares some of the design features seen here, including the arrow-holding double-headed eagles amid scrolling vines, although in that group the eagles are contained within narrow vertical panels delineated by leafy borders. Multiple examples of textiles with this design exist; in general, they have the same crimson red (lac dye) ground and are decorated in two colors, blue and yellow. In addition to silk, these fine woven textiles incorporate flat threads of gold leaf on paper, typical of East Asian works.¹ A complete cope (Royal Ontario Museum, Toronto) and a portion of a chasuble (Victoria and Albert Museum, London) made of this fabric confirm that it was used in Christian ecclesiastical vestments.² The exact location of production for this group of silks is unknown, but the combination of Iberian and Asian motifs and styles is typical of products exported through Macau, a major center of trade in the sixteenth century.

Although other Macau silks possess similar design elements, the color scheme of this example, with its pattern of green, blue, and yellow, is distinctive. It has been proposed, based on the motif of the arrow piercing the heart, that the fabric was made specifically for Augustinians active in the Philippines, but examples found in Spain, Portugal, and other European centers suggest it may have been part of the larger Iberian trade.

[Melinda Watt, adapted from Interwoven Globe, The Worldwide Textile Trade, 1500-1800/ edited by Amelia Peck; New York: Metropolitan Museum of Art; New Haven: distributed by Yale University Press, 2013]

Footnotes:

1. There are two examples in the Metropolitan's collection: acc. nos. 34.41.9 (red, blue, and yellow) and 34.41.1 (blue and yellow). The dyes used in this textile were analyzed by Nobuko Shibayama in the Department of Scientific Research, Metropolitan Museum, using High Performance Liquid Chromatography-Photo Diode Array (HPLC-PDA). The red color is lac dye, and the yellow is from the Asian pagoda tree (Sophora japonica). See also Digby, "Some Silks Woven under Portuguese Influence in the Far East," pp. 52-63.

2. For the Toronto silk (no. 973.422), see Vollmer, Keall, and Nagai-Berthrong, Silk Roads, China Ships, p. 19 and Mayer et al., Raiment for the Lord's Service, pp. 154-55. The London example (no. T215-1910) can be seen on the museum’s website, http://collections.vam.ac.uk/item/O486944/fragment-unknown/. (Additional examples in the Victoria and Albert Museum include nos. T.217-1910 and T.169-1929).
  大都会艺术博物馆,英文 Metropolitan Museum of Art,是美国最大的艺术博物馆,世界著名博物馆,位于美国纽约第五大道的82号大街。
  大都会博物馆回顾了人类自身的文明史的发展,与中国北京的故宫、英国伦敦的大英博物馆、法国巴黎的卢浮宫、俄罗斯圣彼得堡的艾尔米塔什博物馆并称为世界五大博物馆。