从Cebes表中错误学习的花园 - 美国大都会艺术博物馆展品查阅

品名（中）	从Cebes表中错误学习的花园
品名（英）	The Garden of False Learning from The Table of Cebes
入馆年号	1942年，42.193.2
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	David Kandel【1515 至 1601】【德国人】
创作年份	公元 1550 - 公元 1580
创作地区
分类	刺绣纺织品（Textiles-Embroidered）
尺寸	高 110 1/2 x 宽 153 1/8 英寸 (280.7 x 388.9 厘米)
介绍（中）	这个针尖悬挂描绘了《塞贝斯表》中的一个场景，这本书长期以来被错误地认为是苏格拉底的弟子塞贝斯写的，在十六世纪和十七世纪作为拉丁语读者在欧洲广受欢迎。文本描述了一幅在底比斯土星神庙展出的绘画，展示了人生的旅程和通往真正幸福的道路。这幅画描绘了旅程的倒数第二集：主人公被一个代表虚假学习的女人从他的道路上招手。身着宫廷服饰的优雅人物通过辩论、哲学、几何、占星术和炼金术、地理、天文学、算术和音乐，将过多的精力投入到追求知识上，从而分散了他们对真正智慧和幸福的注意力这是一套三件作品中的一件（其他作品在巴黎安德雷美术馆和大都会博物馆）。他们的设计改编自1547年斯特拉斯堡的大卫·坎德尔（David Kandel）制作的一幅木刻画《Cebes表》（The Table of Cebes）。尽管比例不同（木刻的尺寸刚刚超过12乘15英寸），刺绣设计师还是借鉴了木刻中心场景中的主要人物，创造性地添加了绿色、红色和黄色的暖色调。整个建筑被一条充满想象力的嬉戏怪诞的边界所包围，其中包括被圣迈克尔勋章（左上）的衣领包围的德·费尼斯·德·普拉德家族的纹章和被寡妇的灯芯（右上）包围的第二个身份不明的纹章。这种刺绣作品规模巨大，是一种罕见的刺绣时尚，模仿了挂毯的规模和外观，挂毯是更昂贵的编织品。
介绍（英）	This needlepoint hanging depicts a scene from the Tabula Cebetis (The Table of Cebes), a treatise long wrongly believed to have been written by Socrates' disciple Cebes that enjoyed great popularity as a Latin reader in Europe in the sixteenth and seventeenth centuries. The text describes a painting displayed in the Temple of Saturn in Thebes that showed the journey through life and the pathway to true happiness. This hanging depicts the penultimate episode in the journey: the protagonist is beckoned from his path by a woman representing False Learning. Elegant figures in courtly dress are distracted from true wisdom and happiness by dedicating too much energy to the pursuit of knowledge through debate, philosophy, geometry, astrology and alchemy, geography, astronomy, arithmetic, and music. This hanging is one of a set of three (the others are in the Musée Jacquemart-André, Paris and the Metropolitan Museum). Their design was adapted from a woodcut illustrating The Table of Cebes made by David Kandel of Strasbourg in 1547. Notwithstanding the difference in scale (the woodcut is just over 12 by 15 inches), the designer of the embroidery borrowed the principal figures from the woodcut's central scene, inventively adding a warm palette of greens, reds, and yellows. The whole is enclosed by an imaginative border of cavorting grotesques and includes the coat of arms of the De Fenis de Prade family surrounded by the collar of the Order of Saint Michael (upper left) and a second unidentified armorial enclosed by a widow's cordeliere (upper right). With its monumental scale, this needlework is a rare surviving example of a fashion for embroideries that emulated the scale and appearance of tapestries, their more expensive woven counterparts.