胸肌：面部 - 美国大都会艺术博物馆展品查阅

品名（中）	胸肌：面部
品名（英）	Pectoral: Face
入馆年号	1991年，1991.17.50
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 1400 - 公元 1700
创作地区	尼日利亚, 贝宁（Nigeria, Court of Benin）
分类	金属装饰品（Metal-Ornaments）
尺寸	高 7 1/2 x 宽 4 5/8 x 深 1 3/4 英寸 (19.1 x 11.8 x 4.5 厘米)
介绍（中）	像这样的铸造黄铜面具是由贝宁王国的最高酋长和头衔持有者拥有的。这些面具代表着欧巴本人的脸，挂在脖子上，以表明等级和对国王的忠诚。随着贝宁扩大其对许多邻国的政治影响力和军事控制，那些融入其政治体系的外国统治者也收到了这些口罩。这些作品是由皇家黄铜铸造师在宫廷创作的，由欧巴向新成立的酋长分发。这件作品被认为属于马欣的阿玛佩图或乌格博的奥卢格博，这两位约鲁巴统治者位于贝宁城以西约80英里处与大多数胸肌面具一样，这幅作品描绘了一张人脸，其底部由装饰性凸缘框住，凸缘上有小金属响尾蛇的环。头发的边缘是一条棱角分明的发际线，由一排排同心圆组成。额头上有两个镶嵌的垂直铁痕，为面部提供了平衡和尊严，并赋予瞳孔以与尺子相称的强度和力量。这些雕像两侧的四个垂直标记出现在描绘江户妇女或非江户男子的贝宁雕塑上，表明这件作品可能是专门为外国统治者创作的。鼻子和脸颊的微妙造型，以及敏感而精致的嘴巴，使这幅作品充满了自然主义，在风格上与贝宁雕塑的最早时期相关联，这表明它创作于15至17世纪之间。
介绍（英）	Cast brass masks such as this one were owned by paramount chiefs and titleholders of the Benin kingdom. Representing the face of the oba himself, these masks were worn suspended from the neck to indicate rank and demonstrate fealty to the king. As Benin expanded its political influence and military control over many of its neighbors, those foreign rulers who were absorbed into its political system also received these masks. Created at the court by royal brass casters, such works were distributed by the oba to newly incorporated chiefs. This work is believed to have belonged to either the Amapetu of Mahin or the Olugbo of Ugbo, two Yoruba rulers approximately eighty miles to the west of Benin City. Like most pectoral masks, this work depicts a human face framed at the bottom by an ornamental flange with loops for small metal rattles. The hair, bordered by a sharply angular hairline, consists of rows of small concentric circles. Two inlaid iron vertical marks on the forehead lend balance and dignity to the face, and invest the pupils of the eyes with an intensity and power befitting a ruler. The four vertical marks to either side of these are found on Benin sculptures depicting Edo women or non-Edo men, suggesting that this work may have been created expressly for the use of a foreign ruler. The subtle molding of the nose and cheeks as well as the sensitive, delicate mouth imbue the representation with a naturalism that is stylistically associated with the earliest period of Benin sculpture, suggesting that it was created between the fifteenth and seventeenth centuries.