鳄鱼头像吊坠 - 美国大都会艺术博物馆展品查阅

品名（中）	鳄鱼头像吊坠
品名（英）	Crocodile-Head Figure Pendant
入馆年号	1979年，1979.206.1064
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 1000 - 公元 1600
创作地区	哥斯达黎加, 冈萨雷斯·维奎兹港（Costa Rica, Puerto Gonzalez Viquez）
分类	金属装饰品（Metal-Ornaments）
尺寸	高 6 x 宽 4 1/8 x 深 2 英寸 (15.2 x 10.5 x 5.1 厘米)
介绍（中）	这个大吊坠的形状是一只宽肩站立的雄性鳄鱼头。头部和身体由金铜合金熟练地用失蜡技术分为两块铸造而成。两部分的工作在颈部用链环连接。这在美洲的金属作品中是罕见的，它允许身体进行关节运动，从而可以自由地左右摆动。躯干和眼睛上的反光黄铁矿镶嵌物也很不寻常，增加了鳄鱼引人注目的外表。该人物还装饰着一条带有球形装饰物的编织带超大的脸可能代表神话中的存在或戴着面具的人物。长吻的特点是张开的嘴，锯齿状的牙齿从上下颌突出。鼻孔呈现出一种动画形式，两条较小的风格化鳄鱼从鼻子两侧出现。从螺旋耳饰突出的大型风格鳄鱼与较小的张开颚相呼应。鳄鱼的形象和装饰经常出现在哥斯达黎加和巴拿马的金色吊坠中。头上戴着一个精致的头饰，由四根柱子组成，支撑着四个螺旋状突起向外辐射。佩戴时，头内的球形金属拍板会将吊坠变成一个洪亮的配饰。头部背面的悬挂环在原本可以挂在绳子上的地方变薄了，这表明在作为墓品下葬之前有磨损的迹象覆盖着马赛克黄铁矿镜子的圆形石板板，如图所示，在中美洲很常见。其中一些物品是由古代哥斯达黎加和巴拿马的居民进口的（Finamore和Houston，编辑，2009年：第147-148页；Gallego和Blainey，编辑，2016年；Lothrop 1937年：第102-105页，图68、69；Stone和Balser 1965年，第310-329页）。在巴拿马的西蒂奥·孔特，考古学家发现了一个被描述为"镜框"的金色人像吊坠，上面有类似的镶嵌物，可能曾经含有几乎完全降解的黄铁矿（Lothrop 1937:p.105，frontis h，图71）。哥斯达黎加和巴拿马统治者可能将这些罕见的进口物品悬挂在他们的躯干上方，作为仪式服饰的光辉配饰，正如这件吊坠上所描绘的那样这枚吊坠可能是1962年在哥斯达黎加南部发现的众多陪葬品之一，该陪葬品位于布里卡半岛冈萨雷斯港（Puerto González Víquez）镇附近，由联合水果公司（United Fruit Company）控制的一块荒地上。一名持有合法许可证的探矿者发现了一处丰富的墓葬，随后的非法挖掘活动仍在继续，直到哥斯达黎加国家博物馆的卡洛斯·巴尔瑟抵达，为国家收藏获得这些作品。这一发现中描述的一个这样的黄金物体是一个大型鸟类吊坠，现藏于哥斯达黎加中央银行博物馆（编号1247），其头部与大都会博物馆的作品（哥斯达黎加：消失的宝藏。《时代》杂志，1962年10月12日，拉丁美洲版，第22-23页）有着相同的连接。Abel-Vidor等人1981年：猫。291） James Doyle 参考文献 Abel Vidor，Suzanne等人1981。大陆之间/海洋之间：哥斯达黎加前哥伦布时期的艺术。纽约：哈利·N·艾布拉姆斯 Finamore，Daniel和Stephen Houston主编，2010年。火池：玛雅和神话般的大海。塞勒姆，皮博迪埃塞克斯博物馆 Gallego M.、Emiliano和Marc G.Blainey主编，2016年。人造光：中美洲王国的镜子。博尔德：科罗拉多大学出版社 Lothrop，Samuel。1937.《科克莱：巴拿马中部考古研究》。第一部分：西提奥·孔特的历史背景发掘，文物和装饰。哈佛大学皮博迪考古和民族学博物馆回忆录，第七卷。剑桥，皮博迪考古和民族学博物馆 Stone、Doris Z.和Carlos Balser。1965年，哥斯达黎加大西洋流域的切割板岩圆盘。美国古董30（3）：310-329。展览 "来自美洲的杰作"。原始艺术博物馆，纽约。5月20日至11月。1964年11月11日。 "原始艺术的世界"。纽约原始艺术博物馆。7月12日-9月。1966年11月11日 "博物馆藏品选集"，纽约原始艺术博物馆。1967年9月13日-2月。1968年4月4日。 "古代美国的黄金：前哥伦布时代的杰作"。波士顿美术馆。1968年12月1日至1月。1969年12月12日；芝加哥艺术学院。1969年2月1日至3月9日；里士满美术馆。1969年3月24日至4月20日 "原始艺术博物馆的大洋洲、非洲和美洲艺术"，纽约大都会艺术博物馆。5月10日至9月。1969年1月1日。 "古代美国的黄金"。列宁格勒，国立埃尔米塔什博物馆，8月4日至10月。1976年1月1日；莫斯科，国立普希金代表艺术博物馆，10月15日至12月。1976年5月15日；基辅国家历史博物馆，1977年1月5日至3月1日保护用下部合金金重建右腿。右大腿穿孔了。左手拇指损伤。动物的鼻子被刺破了。头饰上少了一个放射状物 10/4/65：右臂断裂已修复。右手腕向后弯曲，几乎向右突破，大裂缝上方有二次裂缝。PVA乳液沿断裂，手腕向前弯曲到原来的位置。背面：几层纸/PVA乳液/蜡/树脂支撑在背面和正面。调色金箔&；青铜粉末由Joseph Nocera，AMNH，6/66处理：在真空下用一种尼龙Zytel 61（杜邦）清洗和浸渍。溶解在甲醇三氯乙烯溶液中，按重量计50-50。用低熔点铅型焊料固定断裂（可拆卸）。
介绍（英）	This large pendant takes the form of a broad-shouldered standing male with a crocodilian head. The head and body were expertly cast from gold-copper alloy in two pieces using the lost-wax technique. The bipartite work is connected at the neck with a chain-link join. This feature, rare in metal works from the Americas, allows for articulated movement of the body so that it may swing freely from side to side. Reflective pyrite inlays in the torso and eyes are also unusual and add to the crocodilian being’s striking appearance. The figure is also adorned with a braided belt with spherical ornaments. The outsized visage may represent a mythological being or a human figure wearing a mask. The long snout features an open mouth with jagged teeth protruding from the upper and lower jaw. The nostrils take on an animate form as two smaller stylized crocodiles in profile emerge from either side of the nose. Larger stylized crocodiles that protrude from spiral ear ornaments echo the smaller open jaws. Crocodilian imagery and adornment appear frequently in gold pendants from Costa Rica and Panama. The head is crowned with an elaborate headdress composed of four pillars supporting four spirals with spiky protrusions radiating outward. The spherical metal clapper inside the head would have transformed the pendant into a sonorous accessory when worn. The suspension loop on the reverse of the head is thinned where it would have been strung on a cord, suggesting signs of wear before it was buried as a tomb offering. Circular plaques of slate covered in mosaic pyrite mirrors, such as the one depicted on the figure here, are common in Mesoamerica. Several of these objects were imported by residents of ancient Costa Rica and Panama (Finamore and Houston, eds. 2009: pp. 147-148; Gallego and Blainey, eds. 2016; Lothrop 1937: p. 102-105, figs. 68, 69; Stone and Balser 1965, pp. 310-329). At Sitio Conte, Panama, archaeologists recovered a gold figural pendant, described as a "mirror frame," with similar inlays that presumably once contained pyrite that had almost completely degraded (Lothrop 1937: p. 105, frontis h, fig. 71). Costa Rican and Panamanian rulers may have suspended these rare, imported objects above their torsos as radiant accessories to ritual regalia, just as depicted on this pendant. This pendant may be one of the many funerary offerings reportedly recovered in 1962 in southern Costa Rica, on an uncultivated plot of land controlled by United Fruit Company, near the town of Puerto González Víquez on the Burica Peninsula. A prospector with a legal permit uncovered a rich burial and subsequent illicit excavations continued until Carlos Balser from the Museo Nacional de Costa Rica arrived to acquire the works for the national collection. One such gold object described from the find was a large avian pendant, now in the Museo del Oro Precolombino del Banco Central de Costa Rica (no. 1247), whose head was attached with an identical join to that of The Met’s work (Costa Rica: Vanishing Treasure. TIME, October 12, 1962, Latin American Edition. pp. 22-23. Abel Vidor et al. 1981: cat. 291). James Doyle References Abel-Vidor, Suzanne, et al. 1981. Between Continents/Between Seas: Pre-Columbian Art of Costa Rica. New York: Harry N. Abrams. Finamore, Daniel, and Stephen Houston, eds. 2010. Fiery Pool: The Maya and the Mythic Sea. Salem, Peabody Essex Museum. Gallego M., Emiliano and Marc G. Blainey, eds. 2016. Manufactured Light: Mirrors in the Mesoamerican Realm. Boulder: University Press of Colorado Lothrop, Samuel. 1937. Coclé: an Archaeological Study of Central Panama. Part I: Historical Background Excavation sat the Sitio Conte, Artifacts and Ornaments. Memoirs of the Peabody Museum of Archaeology and Ethnology, Harvard University, Vol. VII. Cambridge, Peabody Museum of Archaeology and Ethnology. Stone, Doris Z., and Carlos Balser. 1965. Incised Slate Disks from the Atlantic Watershed of Costa Rica. American Antiquity 30(3): 310-329. Exhibitions "Masterpieces from the Americas." Museum of Primitive Art, New York. May 20–Nov. 11, 1964. "The World of Primitive Art." Museum of Primitive Art, New York. July 12–Sept. 11, 1966 "Selections from the Museum Collection." Museum of Primitive Art, New York. Sept. 13, 1967–Feb. 4, 1968. "The gold of Ancient America: Masterpieces from the Pre-Columbian world." Boston Museum of Fine Arts. Dec. 1, 1968–Jan. 12, 1969; Art Institute Chicago. Feb. 1–March 9, 1969; Richmond Museum of Fine Arts. March 24–April 20, 1969. "Art of Oceania, Africa, and the Americas from the Museum of Primitive Art." The Metropolitan Museum of Art, New York. May 10–Sept. 1, 1969. "The Gold of Ancient America." Leningrad, State Hermitage Museum, Aug. 4–Oct. 1, 1976; Moscow, State Museum of Representational Arts in the Name of Pushkin, Oct. 15–Dec. 15, 1976; Kiev State Historical Museum, Jan. 5–March 1, 1977 Conservation Reconstruction of right leg with lower alloy gold. Right thigh has punctured hole. Left thumb damage. Nose of animal punctured. One radial missing from headdress. 10/4/65: Repaired break on right arm. Right wrist bent backwards, almost broken right through, secondary crack above big crack. PVA emulsion along break, bent wrist forward to original position. On back: several layers tosa paper/PVA emulsion/wax/resin support on back and front. Toned gold leaf & bronze powder. Treated by Joseph Nocera, AMNH, 6/66: cleaned and impregnated under vacuum with a type of nylon, Zytel 61 (Dupont). Dissolved in Methanol-Trichlorethylene solution 50-50 by weight. Secured breaks with low melting point lead-type solder (removable).