底座碗 - 美国大都会艺术博物馆展品查阅

品名（中）	底座碗
品名（英）	Pedestal Bowl
入馆年号	1979年，1979.206.377
策展部门	迈克尔·洛克菲勒之翼（The Michael C. Rockefeller Wing）
创作者
创作年份	公元 1200 - 公元 1500
创作地区	哥斯达黎加（Costa Rica）
分类	陶瓷容器（Ceramics-Containers）
尺寸	高 6 13/16 x 直径 7 3/4 英寸 (17.3 x 19.7 厘米)
介绍（中）	在西班牙征服之前的最后几个世纪中，哥斯达黎加大尼科亚地区生产了许多陶瓷风格，这些风格在形式和装饰上受到玛雅地区和墨西哥中部陶瓷传统的强烈启发。其中一种风格被称为Vallejo，强调白色滑动的表面，通过切口勾勒出彩色设计，如这个基座碗所示。装饰船只外部的图案让人想起当时在墨西哥中部流行的几何色彩鲜艳的绘画风格 - 被称为Mixteca-Puebla。这种风格的元素和与之相关的宗教概念在整个中美洲和中美洲北部传播，可能是通过精英商品的交换网络，甚至可能是从墨西哥北部涌入的讲纳瓦语的移民。当地的陶瓷艺术家对外国图像进行了自己的解释，并创造了一种人物和符号的混合，只是隐约类似于中美洲的原作。其中两个图案显示在碗的两侧，代表了墨西哥地球怪物的一个版本，这是一个被称为Tlaltecuhtli的尖牙，像蟾蜍一样的神，据信在每天的天空之旅中吞下人类祭品和天体。只有生物张开的嘴巴和一只眼睛才能被识别为动物特征。人物的身体和通常有爪子的手和脚是抽象的形状。船上的第二幅图像是羽蛇，也被称为羽蛇神。这个古老的神有很多方面，受到许多中美洲人民的崇拜。蛇的长身体形成一个 U 形，末端是一卷的卷曲;它的轮廓头部有一个敞开的爪子，飘带从中冒出来，象征着分裂的舌头和尖牙。羽毛是羽蛇神表现形式上的一个重要特征，被描绘成从头尾端开始的长矩形突起。
介绍（英）	During the last few centuries prior to the Spanish conquest, numerous ceramic styles were produced in the Greater Nicoya region of Costa Rica that were strongly inspired in form and decoration by ceramic traditions in the Maya area and central Mexico. One of those styles, known as Vallejo, emphasizes white-slipped surfaces with polychrome designs outlined by incision, as seen on this pedestal bowl. The motifs decorating the outside of the vessel recall the geometric, brightly colored painting style—known as Mixteca-Puebla—popular in central Mexico at the time. Elements of the style and the religious concepts associated with it spread throughout Mesoamerica and northern Central America, probably by means of an exchange network of elite goods and perhaps even an influx of migrating Nahua-speaking peoples from northern Mexico. Local ceramic artists formulated their own interpretation of the foreign imagery and created a blend of figures and symbols that only vaguely resembles a Mesoamerican original. Two of the motifs, shown on opposite sides of the bowl, represent a version of the Mexican earth monster, a fanged, toadlike deity known as Tlaltecuhtli, believed to swallow human sacrifices and the heavenly bodies on their daily journey through the sky. Only the open profile mouth of the creature and one eye are recognizable as animal features. The figure's body and what are usually clawed hands and feet are abstract shapes. The second image on the vessel is that of the Feathered Serpent, also known as Quetzalcoátl. This ancient deity had numerous aspects and was worshipped by many Mesoamerican peoples. The snake's long body forms a U-shape ending in a sweeping curl; its profile head has a wide open maw with streamers emerging from it, symbolizing the split tongue and fangs. The feathers, an essential feature on Quetzalcoátl representations, are depicted as long, rectangular projections from the head and tail end.