双子画 - 美国大都会艺术博物馆展品查阅

品名（中）	双子画
品名（英）	Diptych
入馆年号	2006年，2006.560
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Master BP【1700 至 1800】
创作年份	公元 1736
创作地区
分类	组合金属制品银（Metalwork-Silver In Combination）
尺寸	整体: 3 1/16 × 2 1/8 × 1 1/2 英寸 (7.8 × 5.4 × 3.8 厘米)
介绍（中）	这幅旅行双联画装饰着圣徒的图像，这些图像在早期乌克兰巴洛克时期很安静。画家结合了旧的（对标志的上帝之母的描绘和圣徒名字的完整铭文的简化版本）和全新的绘画技术和装饰元素语言（罗马军装点缀着强烈的巴洛克式细节和明显个性化的圣内斯特光滑面孔和年轻面孔的个性化特征）。西里尔文的文本和规范文本缩写在古代分为两行：第 1 行：圣烈士、圣贞德、圣尼古拉斯第 2 行：内斯特、战士、奇迹工作者所有铭文都可以阅读圣烈士内斯特、圣战士琼、圣尼古拉斯奇迹工作者。俄罗斯圣像画中经常发现所选圣徒的虔诚图像。所描绘的人物可能是在特定地区特别受人尊敬的守护神。圣烈士内斯特和圣战士琼在乌克兰地区担任非凡的职位，他们作为战士保护者的角色比俄罗斯其他地方更突出。在俄罗斯东正教中作为"光荣的基督教青年英雄"而死的圣烈士内斯特被认为是年轻战士的守护神。圣战士贞德被俄罗斯东正教采纳为外国战俘的圣人保护者。由于16-17世纪不断的自相残杀，对圣战士的描绘在基辅西北80公里的切尔尼戈夫（切尔尼戈夫）镇变得特别普遍。（见纳塔利娅·科马什科，乌克兰圣像绘画，圣像绘画史，莫斯科，2002年，第191-195页）这幅画由银色（？）框架oklad保护，该框架覆盖了整个画面，但手和脸除外。在 16 世纪和 17 世纪，奥克拉德随后在圣像本身上制作。这幅双联画的绘画具有明显的省级特征，加上对佩切尔斯卡亚修道院圣像画派相关圣像的严格纹章构图模式的回忆，表明了基辅的影响。这个图标可能是一个zakaznaya icona，一个委托的图标，包括客户的同名圣人。
介绍（英）	This traveling Diptych is decorated with images of saints which are quiet common to the period of the early Ukrainian baroque. The painter combines old (a somewhat simplified version of the depiction of the Mother of God of the Sign and full inscriptions of the names of the saints) and entirely new language of painting techniques and decorative elements (Roman military attires embellished with strongly pronounced baroque details and obviously individualized characterization of a smooth-faced and young face of Saint Nestor). The text and canonic text abbreviations in Cyrillic are archaically divided into two lines: Line 1: Saint Martyr, Saint Joan, Saint Nicolas Line2: Nestor, Warrior, Miracle worker All inscriptions could be read St. Martyr Nestor, St. Warrior Joan, St. Nicolas Miracle worker. Devotional images of selected saints are frequently found in Russian icon painting. The figures depicted might be patrons saints particularly venerated in a given region. Saint Martyr Nestor and Saint Warrior Joan occupied extraordinary positions in the Ukrainian region where their role as warrior protectors was more emphatically perceived than elsewhere in Russia. Saint Martyr Nestor who died as "a glorious Christian young hero" in Russian orthodoxy is considered a patron saint of young warriors. Saint Warrior Joan was adopted by Russian Orthodox Church as a saint protector of prisoners of war in foreign lands. As a result of constant internecine warfare in the 16–17th centuries the depiction of the saint warriors became especially widespread in Chernigov (Chernihiv), a town 80 km north-west of Kiev.(see Natalia Komashko, Ukrainian icon painting, in History of icon painting, Moscow, 2002, pp.191-195) The painting is protected by a silver (?) frame oklad which covers the whole picture but hands and faces. During 16 and 17th centuries oklads were made subsequently to the icon itself. A clearly provincial character of the painting of this diptych, coupled with reminiscences of strictly heraldic compositional pattern of related icons from Pecherskaya Lavra School of icon painting point to the influence of Kiev. This icon was probably a zakaznaya icona, a commissioned icon including client's eponymous saint.