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美国纽约大都会艺术博物馆展品查阅
美国纽约大都会艺术博物馆展品查阅
美国大都会艺术博物馆中的24万件展品,图片展示以及中文和英文双语介绍(中文翻译仅供参考)
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品名(中)飞希斯克(塔希里拉阿)
品名(英)Flywhisk (tahiri ra’a)
入馆年号1979年,1979.206.1487
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 1800 - 公元 1870
创作地区法属波利尼西亚(French Polynesia)
分类木制工具(Wood-Implements)
尺寸高 30 1/4 × 宽 6 × 深 2 3/8 英寸 (76.8 × 15.2 × 6 厘米)
介绍(中)活力是波利尼西亚神像的一个重要方面,与它们作为仪式对象的有效性密切相关。作为仪式实践的一部分,祭司鼓励众神用被称为tahiri ra'a的仪式飞拂大力扇动,穿过天空进入尘世领域。扇形(或"拂动")以大胆的手势动作来标记家谱圣歌的稳定节奏,鼓励众神的到来,据说他们乘风吹向尘世。因此,这种特殊的仪式功能是吸引神灵从精神世界的黑暗中进入人类居住的光明世界的一种方式,在那里他们可以安全地咨询。

詹姆斯·莫里森(James Morrison)是HMS Bounty的船员,他陪同该船臭名昭著的叛变者在1789年短暂地试图定居图普阿伊岛,他为我们留下了关于南方群岛酋长使用的这些标志性艺术作品的最早图像的描述:"

老人有行走的五线谱和由相同木材制成的苍蝇瓣手柄, 完成得很高,在他们的五线谱顶部,他们通常雕刻了一个男人的双重人物,代表一个身体和两个头的人物,有些是两个,背靠背站着,他们的苍蝇瓣是由可可坚果的纤维制成的,非常奇怪地扭曲和编织。(詹姆斯·莫里森,引用于托马斯和史密斯,2013)

在这个例子中,雕刻精美的顶端人物有一对弯曲的头部,向前弯曲,逐渐变细到长鼻状的尖端。两组直线手臂从人物狭窄的肩膀伸出,构成一个泪滴形的身体。一系列精致的凹口区分了每个人物的精确细节,勾勒出四肢的轮廓边缘——腿、脚和抽象的手,似乎被扣住,肘部几乎搁在膝盖上。面部特征减少为一条眉线,由代表鼻子的中央脊一分为二,并延伸到头顶作为冠。额头上的钉状突起代表装饰性的头发顶结,这是南方群岛酋长阶层的人所穿的长发。每个顶结的形式与从躯干中心突出的肚脐(pito)相呼应。这些数字代表了最早的神化祖先,超自然生物居住在原始时代,暗示他们的蹄龙或类似爬行动物的特征。

这些优雅的直立雕塑通常被称为"飞拂",长期以来一直被误解,遭受过度字面的解释,忽视了它们更深层次的宇宙学意义。活力隐含在名称atua(或a-tua)中,这是波利尼西亚众神的统称,指的是围绕中心轴反复旋转或转动。这种旋转的运动体现在这个tahiri的雕刻中,特别是其高度抽象的顶端,它似乎加倍,但实际上代表了一个运动中的人物。人物的脚优雅地逐渐变细成四对,当塔希里在其垂直轴上旋转时,似乎巧妙地绕着中心轴侧步。同样的动作导致一系列圆形线轴和圆形圆盘似乎沿着木轴的长度向下下降,木轴的下部被红色椰子纤维绳和人的头发束缚。这些是非常重要的材料,涉及当代酋长与其祖先之间的家谱关系。底部的弹性椰子纤维打蛋器元件进一步增强了运动和旋转的感觉。绑在tahiri捆绑中的抛光珍珠贝壳在旋转时会闪烁和摇晃,创造出亮度和声音,为仪式创造了适当的条件,增强了其主要目标的功效 - 将神灵从祖先王国(te po)的黑暗地区召唤到光明(te ao)。

玛雅·努库,2020 年伊芙琳·霍尔和约翰·弗里德海洋艺术副策展人出版



凯尔格伦,埃里克。大洋洲:大都会艺术博物馆的太平洋岛屿艺术,第299-300页,第180期。纽约:大都会艺术博物馆和纽黑文:耶鲁大学出版社,2007年努

库,马亚。ATEA:波利尼西亚的自然与神性。大都会艺术博物馆公报,2019 年冬季,第 38-41 页

延伸阅读

托马斯、尼古拉斯和凡妮莎·史密斯(编辑)兵变和后果:詹姆斯·莫里森对赏金和大溪地岛兵变的描述。檀香山: 夏威夷大学出版社, 2013
介绍(英)Dynamism was a crucial aspect of Polynesian god images, and closely associated with their effectiveness as ritual objects. As part of ritual practice, priests encouraged gods to pierce through the sky into the earthly realm by fanning vigorously with ceremonial flywhisks, known as tahiri ra’a. Fanning, (or ‘whisking’) in bold, gestural movements to mark the steady rhythm of genealogical chants encouraged the arrival of the gods, who were said to bear down to the earthly realm on the wind. This specific ritual function was thus a way to attract gods out of the darkness of the spirit world to enter into the world of light, inhabited by humans, where they could be safely consulted.

James Morrison, a crew member of HMS Bounty, who accompanied that vessel’s infamous mutineers on a short-lived attempt to settle the island of Tupua’i in 1789, leaves us the earliest description of the imagery of these iconic art works which were used by Austral Island chiefs:

‘The Old Men have walking Staves & handles of Fly flaps made of the same wood, highly finished, on the Top of their Staves they generally have Carved a double figure of a man representing a figure with one Body & two Heads & some of two, standing back to back, their Fly flaps are made of the Fibers of the Cocoa Nut twisted & plaited very Curiously.’ (James Morrison, cited in Thomas and Smith, 2013)

The finely carved finial figure in this example has a pair of curving heads which bow forward, tapering to a proboscis-like tip. Two sets of rectilinear arms extend from the figure’s narrow shoulders to frame a single teardrop-shaped body. A series of delicately executed notches distinguishes precise detail in each figure, outlining the contoured edges of limbs – legs, feet, and abstracted hands which appear to be clasped, elbows nearly resting on the knees. Facial features are reduced to a single brow line, bisected by a central ridge that represents the nose and extends over the top of the head as a crest. The peg-like projections on the forehead represent ornamental topknots of hair, a coiffure worn by man of chiefly rank in the Austral Islands. The form of each topknot is echoed by the navel (pito) which projects from the center of the torso. These figures represent the earliest line of deified ancestors, supernatural beings who inhabited a primordial era alluded to in their saurian, or reptile-like, features.

Commonly referred to as ‘flywhisks’, these elegant upright sculptures have long been misunderstood, suffering from overly literal interpretations that overlook their deeper cosmological significance. Dynamism is implied in the name atua (or a-tua), the collective term for Polynesian gods, which refers to revolving or turning repeatedly around a central axis. This spinning motion is manifest in the carving of this tahiri particularly in its highly abstract finial, which seems to be doubled but actually represents a single figure in motion. The figure’s feet taper elegantly into four pairs and appear to delicately side-step around the central shaft when the tahiri is rotated on its vertical axis. The same action causes a series of circular spools and rounded discs to appear to descend downwards along the length of the wooden shaft whose lower section is bound with lengths of reddish-colored coconut fiber cord and human hair. These are highly significant materials that refer to genealogical relations between the current generation of chiefly men and their forbears. The springy coconut-fiber whisk element at the bottom further reinforces a sensation of movement and spinning. Sections of polished pearl shell tied into the bindings of tahiri would have flashed and jangled when twirled, creating the luminosity and sound that created the appropriate conditions for ritual, enhancing the efficacy of its principal objective – to summon forth the gods from the dark reaches of the ancestral realm (te po) into the light of day (te ao).

Maia Nuku, 2020 Evelyn A. J. Hall and John A. Friede Associate Curator for Oceanic Art

Published

Kjellgren, Eric. Oceania: Art of the Pacific Islands in the Metropolitan Museum of Art, pp. 299-300, no. 180. New York: The Metropolitan Museum of Art and New Haven: Yale University Press, 2007

Nuku, Maia. ATEA: Nature and Divinity in Polynesia. The Metropolitan Museum of Art Bulletin, Winter 2019, pp. 38-41

Further reading

Thomas, Nicholas and Vanessa Smith (eds.) Mutiny and Aftermath: James Morrison's Account of the Mutiny on the Bounty and the Island of Tahiti. Honolulu: University of Hawai’i Press, 2013
  大都会艺术博物馆,英文 Metropolitan Museum of Art,是美国最大的艺术博物馆,世界著名博物馆,位于美国纽约第五大道的82号大街。
  大都会博物馆回顾了人类自身的文明史的发展,与中国北京的故宫、英国伦敦的大英博物馆、法国巴黎的卢浮宫、俄罗斯圣彼得堡的艾尔米塔什博物馆并称为世界五大博物馆。