从高卢的阿玛迪人手中解放奥里安 - 美国大都会艺术博物馆展品查阅

品名（中）	从高卢的阿玛迪人手中解放奥里安
品名（英）	The Liberation of Oriane from a set of Amadis of Gaul
入馆年号	2006年，2006.36
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Karel van Mander I【1548 至 1606】【荷兰人】
创作年份	公元 1585 - 公元 1600
创作地区
分类	纺织品挂毯（Textiles-Tapestries）
尺寸	整体 (confirmed): 高 139 x 宽 159 1/4 英寸 (353.1 x 404.5 厘米)
介绍（中）	这幅挂毯描绘了高卢的阿马迪斯的场景，这是一种骑士浪漫，在 16 世纪后期在欧洲宫廷圈子中广受欢迎。来自高卢的骑士阿玛迪斯爱上了英格兰国王的女儿奥莉安，但她和"丹麦少女"被国王的敌人阿卡劳斯绑架了。在这里，我们看到了奥莉安的救赎。在场景的中心，阿玛迪斯遇到了阿卡劳斯的军队，并击败了他的每个士兵，最后面对并杀死了阿卡劳斯。在前景中，阿玛迪斯和奥里安重新团聚。挂毯由卡雷尔·范·曼德一世（Karel van Mander I）的设计编织而成，是十六世纪后期荷兰生产的罕见例子。它是在商人织布工弗朗斯·斯皮林（Frans Spiering，约 1550-1620 年）的代尔夫特作坊制作的，他因当时的宗教动荡而从安特卫普搬迁。 Spiering企业在1590年至1620年间取得了巨大的成功，为北欧的新教宫廷提供了高质量的挂毯，这些宫廷不再能够从布鲁塞尔购买挂毯，布鲁塞尔是高质量挂毯的传统来源。斯皮林似乎享有不寻常的特权，能够使用令人垂涎的布鲁塞尔生产的"BB"符号，即使他不在那个小镇工作。 Spiering的挂毯具有很高的丝绸含量，使它们特别容易受到光的损坏。这幅挂毯以其色彩的强度和丰富性而著称。
介绍（英）	This tapestry depicts scenes from Amadis of Gaul, a chivalric romance that enjoyed great popularity in European court circles in the late sixteenth century. Amadis, a knight from Gaul, has fallen in love with Oriane, daughter of the King of England, but she and the "Damsel of Denmark" have been kidnapped by the king's enemy, Arcalaus. Here we see Oriane's rescue. Toward the center of the scene Amadis encounters the army of Arcalaus and defeats each of his soldiers before finally confronting and killing Arcalaus. In the foreground, Amadis and Oriane are re-united. Woven from a design by Karel van Mander I, the tapestry is a rare example of late sixteenth-century Dutch production. It was made in the Delft workshop of the merchant-weaver Frans Spiering (ca. 1550–1620) who had relocated from Antwerp because of the religious turmoil of the era. The Spiering enterprise enjoyed great success between 1590 and 1620, providing high-quality tapestries to the Protestant courts of northern Europe who were no longer able to buy tapestries from Brussels, the traditional source of high-quality tapestries. Spiering seems to have enjoyed the unusual privilege of being able to use the coveted "BB" symbol of Brussels' production, even though he was not working in that town. Spiering's tapestries had a high silk content, rendering them especially vulnerable to light damage. This tapestry is remarkable for the intensity and richness of its color.