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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)四角帽
品名(英)Four-Cornered Hat
入馆年号1994年,1994.35.139
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 600 - 公元 900
创作地区秘鲁(Peru)
分类纺织品服装(Textiles-Costumes)
尺寸高 4 × Circum. 22 英寸 (10.2 × 55.9 厘米)
介绍(中)精心编织、色彩鲜艳的帽子,通常具有方形皇冠、四个侧面和四个尖尖,最常与安第斯山脉的两种古老文化联系在一起:瓦里和蒂瓦纳库。瓦里帝国从公元500-1000年统治了现在秘鲁的中南部高地和西部沿海地区。蒂瓦纳库人大约在同一时间占领了瓦里人口稠密地区以南的高原(高原),包括现在属于现代玻利维亚国家的领土。这些文化不仅在同时代发展和繁荣,而且占据了邻近的土地近四个世纪。一个名为Cerro Baúl的瓦里仪式中心距离秘鲁莫克瓜山谷的蒂瓦纳库定居的田地仅五英里。这两种文化可能在塞罗鲍尔和其他地方相遇,但这些互动的性质在很大程度上仍然未知。瓦

里和蒂瓦纳库的四角帽都是由骆驼纤维精心制成纱线并经过专业染色而成的。来自两种文化的艺术家也采用了类似的几何设计(主要是钻石、十字架和阶梯三角形),以及代表植物和动物形态的风格化图像,如长腿鸟和背上有翅膀的美洲驼。瓦里和蒂瓦纳库的视觉程序在设计和图案上相当,表明它们共享主要图标和共同的宗教基础。一个有翼侍从的神灵经常出现在两种文化的肖像画中。尽管有这些相似之处,但学者们认为瓦里人和蒂瓦纳库人有着独特而独立的社会政治实践,特别是在治理和遗址建设方面。

虽然他们共享某些技术传统,例如复杂的挂毯编织和打结技术,但瓦里和蒂瓦纳库使用截然不同的施工方法来制作四角帽。瓦里艺术家通常将顶峰和角峰塑造成单独的部分,然后将它们组装在一起。Tiwanaku艺术家通常从上到下打结,从顶部和四个山峰开始,创作一件作品。此外,在瓦里遗址中发现了用桩打结的四角帽,而在蒂瓦纳库墓葬中发现了那些没有桩结的帽子。通过这些差异,学者们已经能够将个别作品归因于一个群体或另一个群体。

四角帽虽然在墓地中作为陪葬品被发现,但也被发现有反复和普遍使用的迹象,例如磨损的边缘、古老的修补和发油污渍。在瓦里和蒂瓦纳库社会,四角帽很可能被高级男子佩戴,作为生死中权力和地位的象征。戴着四角帽的人物经常被描绘在两种文化的陶瓷上,与其他精英王权一起佩戴,包括精致的纺织品、羽毛制品和串珠项圈。

Ji Mary Seo
Lifchez-Stronach策展实习生,2018年

参考
框架,Mary。安第斯四角帽:古代卷。纽约:大都会艺术博物馆,1990年。

弗雷雷索,卡罗尔。"古代秘鲁的纺织品和神圣羽毛。"在《羽毛:前哥伦布时期美国的愿景》(Feathers: Visions of Pre-Columbian America)中,Fabien Ferrer-Joly编辑,第22-41页。巴黎:索莫吉艺术学院;奥赫:雅各宾博物馆,2016年。

金蒂尼,克里斯汀。"四角帽。"《黄金王国:古代美洲的奢侈艺术》(Golden Kingdoms: Luxury Arts in the Ancient Americas),Joanne Pillsbury、Timothy Potts和Kim N. Richter编辑,160-161页。洛杉矶:J. Paul Getty Museum and The Getty Research Institute,2017年。

戈德斯坦、保罗和马里奥·里维拉。"大蒂瓦纳库的艺术:历史背景下的广阔文化"。在蒂瓦纳库:印加人的祖先中,玛格丽特·杨-桑切斯编辑,150-184页。丹佛:丹佛艺术博物馆;林肯: 内布拉斯加大学出版社, 2004.

Knobloch,Patricia J."粘土档案:瓦里陶瓷艺术家的风格和故事"。在瓦里:古代安第斯山脉的领主,苏珊·E·伯格编辑,122-143页。克利夫兰:克利夫兰艺术博物馆与泰晤士河和哈德逊美术馆合作,2012年。

伦布雷拉斯,路易斯·吉列尔莫。"中地平线(瓦里和蒂瓦纳库)。"在秘鲁:从查文到印加人的艺术,帕特里克·勒马森编辑,109-127。巴黎:斯基拉,2006年。

马尔帕斯、迈克尔· "泰坦之战?蒂瓦纳库、瓦里和中地平线。在安第斯山脉的古代人中,142-192。伊萨卡: 康奈尔大学出版社, 2016.

被子,杰弗里。安第斯山脉的宝藏:印加和前哥伦布时期南美洲的荣耀。伦敦:邓肯·贝尔德,2005年。

威廉姆斯,帕特里克·瑞恩。"Cerro Baúl:蒂瓦纳库边境的瓦里中心。"拉丁美洲古代12,第1期(2001):67-83。http://www.jstor.org/stable/971758。

威廉姆斯、帕特里克·瑞安和唐娜·纳什。"安第斯泰坦的冲突:塞罗鲍尔的瓦里和蒂瓦纳库。"在实地(2003):16-17。
介绍(英)Finely woven, brightly colored hats, customarily featuring a square crown, four sides, and four pointed tips, are most frequently associated with two ancient cultures of the Andes: the Wari and the Tiwanaku. The Wari Empire dominated the south-central highlands and the west coastal regions of what is now Peru from 500–1000 A.D. The Tiwanaku occupied the altiplano (high plain) directly south of Wari-populated areas around the same time, including territory now part of the modern country of Bolivia. The cultures not only developed and flourished as contemporaries, but also occupied adjacent lands for nearly four centuries. A Wari ceremonial center called Cerro Baúl was located a mere five miles from Tiwanaku-settled fields in the Moquegua Valley of Peru. The two cultures likely encountered each other at Cerro Baúl and elsewhere, but the nature of these interactions remains largely unknown.

Four-cornered hats from both the Wari and the Tiwanaku were made from camelid fibers carefully prepared into yarns and expertly dyed. Artists from the two cultures also employed similar geometric designs (primarily diamonds, crosses, and stepped triangles), and stylized images representing plants and zoomorphic forms such as long-legged birds and llamas with wings on their backs. The Wari and the Tiwanaku visual programs, comparable in design and pattern, suggest that they shared primary icons and a common religious foundation. A staffed deity with winged attendants frequently appears in the iconography of both cultures. Despite these parallels, scholars believe that the Wari and the Tiwanaku had distinct and separate socio-political practices, particularly in regards to governance and site building.

Although they shared certain technological traditions, such as complex tapestry weaving and knotting techniques, the Wari and the Tiwanaku utilized significantly different construction methods to create four-cornered hats. Wari artists typically fashioned the top and corner peaks as separate parts and later assembled them together. Tiwanaku artists generally knotted from the top down, starting with the top and four peaks, to create a single piece. In addition, four-cornered hats knotted with pile have largely been discovered at Wari sites, while those knotted without pile have been found in Tiwanaku burials. Through these variances, scholars have been able to attribute individual works to one group or the other.

Four-cornered hats, although found in burial sites as funerary offerings, have also been discovered with signs of repeated and general use, such as worn edges, ancient mends, and stains of hair oil. In Wari and Tiwanaku societies, four-cornered hats were likely worn by high-ranking men as symbols of power and status, both in life and in death. Figures wearing four-cornered hats are frequently depicted on ceramics from both cultures, worn alongside other elite regalia including elaborate textiles, featherworks, and beaded collars.

Ji Mary Seo
Lifchez-Stronach Curatorial Intern, 2018

References
Frame, Mary. Andean Four-Cornered Hats: Ancient Volumes. New York: The Metropolitan Museum of Art, 1990.

Fraresso, Carole. “Textiles and Divine Feathers of Ancient Peru.” In Feathers: Visions of Pre-Columbian America, edited by Fabien Ferrer-Joly, 22-41. Paris: Somogy éditions d’art; Auch: Musée des Jacobins, 2016.

Giuntini, Christine. “Four-Cornered Hat.” In Golden Kingdoms: Luxury Arts in the Ancient Americas, edited by Joanne Pillsbury, Timothy Potts, and Kim N. Richter, 160-161. Los Angeles: The J. Paul Getty Museum and The Getty Research Institute, 2017.

Goldstein, Paul, and Mario Rivera. “Arts of Greater Tiwanaku: An Expansive Culture in Historical Context.” In Tiwanaku: Ancestors of the Inca, edited by Margaret Young-Sánchez, 150-184. Denver: Denver Art Museum; Lincoln: University of Nebraska Press, 2004.

Knobloch, Patricia J. “Archives in Clay: The Styles and Stories of Wari Ceramic Artists.” In Wari: Lords of the Ancient Andes, edited by Susan E. Bergh, 122-143. Cleveland: Cleveland Museum of Art in association with Thames & Hudson, 2012.

Lumbreras, Luis Guillermo. “Middle Horizon (Wari and Tiwanaku).” In Peru: Art from the Chavín to the Incas, edited by Patrick Lemasson, 109-127. Paris: Skira, 2006.

Malpass, Michael A. “Clash of the Titans? Tiwanaku, Wari, and the Middle Horizon.” In Ancient People of the Andes, 142-192. Ithaca: Cornell University Press, 2016.

Quilter, Jeffrey. Treasures of the Andes: The Glories of Inca and Pre-Columbian South America. London: Duncan Baird, 2005.

Williams, Patrick Ryan. “Cerro Baúl: A Wari Center on the Tiwanaku Frontier.” Latin American Antiquity 12, no. 1 (2001): 67-83. http://www.jstor.org/stable/971758.

Williams, Patrick Ryan, and Donna J. Nash. “Clash of the Andean Titans: Wari and Tiwanaku at Cerro Baúl.” In the Field (2003): 16-17.
  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。