面具形式的青铜手柄附件 - 美国大都会艺术博物馆展品查阅

品名（中）	面具形式的青铜手柄附件
品名（英）	Bronze handle attachment in the form of a mask
入馆年号	1972年，1972.118.98
策展部门	希腊和罗马艺术（Greek and Roman Art）
创作者
创作年份	公元前 99 - 公元 50
创作地区
分类	青铜器（Bronzes）
尺寸	高 10 英寸 (25.4 厘米)
介绍（中）	尽管希腊化图像学发生了所有变化和创新，但也有连续性。本案中的三个面具显示了一种趋势，即即使不复兴，也会延续回到古典时期甚至古代时期的风格，这一趋势从公元前二世纪开始得到了推动，因为希腊艺术家被要求迎合罗马艺术市场的需求与希腊酒神狄奥尼索斯（Dionysos）有关的图像非常适合富有的罗马人在别墅里过的奢华享乐生活。这些把手附件是用来装酒桶的。常青藤叶子的花环和额头上的鱼片都与酒神及其追随者有关。面具让人想起了狄奥尼索斯的古代形象，直到公元前五世纪，狄奥尼索斯一直留着长发和胡须。但这些面具上尖尖的马耳朵标志着它们是萨蒂尔或西勒诺伊的象征，萨蒂尔和西勒诺伊是上帝喧闹随从中的准人类林地生物。
介绍（英）	Despite all the change and innovation in Hellenistic iconography, there was also continuity. The three masks in this case demonstrate the tendency to perpetuate, if not to revive, styles going back to the Classical and even to the Archaic period, a tendency that gained impetus from the second century B.C. on, as Greek artists were being called upon to cater to the demands of the Roman art market. Images related to Dionysos, Greek god of intoxication and ecstasy, were well suited to the luxurious and hedonistic life that wealthy Romans led in their villas. These handle attachments were for wine buckets. The wreath of ivy leaves and the fillet crossing the forehead are associated exclusively with the god of wine and his followers. The mask brings to mind Archaic images of Dionysos, who until the fifth century B.C. was always shown with long hair and a beard. But the pointed, equine ears on these masks mark them as representations of satyrs or silenoi, the quasi-human woodland creatures in the rowdy entourage of the god.