Kero公司 - 美国大都会艺术博物馆展品查阅

品名（中）	Kero公司
品名（英）	Kero
入馆年号	1994年，1994.35.26
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 1600 - 公元 1700
创作地区	秘鲁（Peru）
分类	木质容器（Wood-Containers）
尺寸	高 8 5/8 英寸 (21.9 厘米)
介绍（中）	这种类型的keros上的彩绘脸表明它们是为了代表居住在森林中的Anti。安第斯山脉的东坡一直延伸到大河流域的热带森林，居住着这个种族分离的群体，也被称为春乔人，高原和太平洋海岸的印加埃姆皮尔人认为是野蛮人尽管它们与前哥伦布时代的面喙相似，但人们普遍认为，以人头形式形成的keros是在后来的殖民时期进化而来的；经常包裹在背后的"自由风格"图像在排列上更接近欧洲的叙事形式，而不是早期殖民地keros上对人类的刻板描绘。在这里，背面的场景描绘了一个由几个穿着西班牙服装的人组成的游行队伍：两名侍从跟随一名官员，官员前面是两名小音乐家（一个在另一个之上），他们演奏小号和鼓然而，总体信息仍然是以平衡对立的二分印加世界观来传达的：帝国秩序（叙事游行场景）对抗混乱的力量（反，隐含在船只的形状中）。
介绍（英）	The painted faces on keros of this type indicate that they are meant to represent the forest-dwelling Anti. The eastern slopes of the Andes, descending to the tropical forest of the great river basins, were populated by this ethnically separate group, also called Chunchos and considered savages by the inhabitants of the Incan Eempire in the high plateaus and the Pacific coast. Despite their resemblance to face beakers of the Precoluombian era, keros shaped in the form of human heads are widely believed to have evolved in a later colonial phase; the "free-style" images that frequently wrap around the backs come far closer to European narrative form in their arrangement than do the rigid depictions of humans on early colonial keros. Here the scene on the back depicts a procession of several figures in Spanish attire: two attendants follow an official who is preceded by two small musicians (one above the other) playing a trumpet and drum. The overall message, however, is still conveyed in terms of the dichotomous Inca worldview of balanced opposites: imperial order (the narrative processional scene) counters the forces of disorder (the Anti, implicit in the vessel's shape).