微信公众号 
图码生活

每天发布有五花八门的文章,各种有趣的知识等,期待您的订阅与参与
搜索结果最多仅显示 10 条随机数据
结果缓存两分钟
如需更多更快搜索结果请访问小程序
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)
读取中
读取中
读取中
品名(中)十字架
品名(英)Crucifix
入馆年号1999年,1999.295.4
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 1700 - 公元 1897
创作地区安哥拉(Angola)
分类金属雕塑(Metal-Sculpture)
尺寸高 10 x 宽 5 1/2 x 深 3/4 英寸 (25.4 x 14 x 1.9 厘米)
介绍(中)这个孔戈十字架和早期的相关作品一样,是以欧洲的原型为基础的。早期孔戈对这一主题的演绎描绘了基督的手臂、腿和躯干,强调肌肉组织。此外,他的脸在痛苦的死亡中呈现出来。然而,后来这种风格的例子表明,十字架与当地习语的融合更加深刻

在这部作品中,基督的头发是一位孔戈利斯人的头发,他的面部特征被简化为风格化的缩写,其描述不那么详细。他的手脚被压扁,双脚连成一个五趾肢体,根据对孔戈手势的解释,这提供了更高的精神力量。包裹和肋骨被渲染为简化为几何线性抽象。基督被描绘成一双突出的椭圆形大眼睛,这是孔戈艺术中一个常见的主题,代表了被祖先或神附身的人类的超自然视觉。在基督的下面和他的肩膀上方是小型的,高度程式化的祷告人物。他们的角色和身份未知,但他们可能是哀悼者或祖先

基督教十字架被认为是精神权威和权力的象征,它被融入了孔戈祖先的崇拜和埋葬仪式中,并被认为含有神奇的保护特性。在孔戈文化中,十字架被认为可以干预从疾病、生育到降雨等各种事务
-----------------------------------------------------------------------------------------------------------------------------
主题页:非洲基督教/孔戈

1491年,恩津加国王自愿皈依基督教,敦促孔戈贵族和农民阶级效仿。在接下来的两百年里,孔戈王国在不同程度上仍然是基督徒。学者们继续质疑孔戈莱斯基督教信仰的真实性,以及采用新信仰的动机在多大程度上是出于政治和经济现实。从恩津加皈依到17世纪,孔戈领导层与欧洲的宗教和政治领袖进行了广泛的沟通,包括教皇和其他接受孔戈教会为正统派的梵蒂冈成员

在此期间,孔戈王国是撒哈拉以南非洲最大的王国之一,占地超过11.5万平方英里,拥有高度集权的君主制和强大的贵族阶层。城市贵族通过向农村农民阶层征收沉重的税收制度来维持其奢华的生活方式。各省的大宗产品,包括铜、盐、野生动物产品(兽皮和象牙),以及布料和后来的奴隶,都被交易给了葡萄牙人。皈依基督教巩固了这些重要的贸易关系

由于几个原因,孔戈莱斯贵族迅速接受了基督教。第一,中央集权政府和等级结构社会的性质促进了信息的传播。将基督教教义翻译成当地语言KiKongo,使得精神、上帝和神圣等词直接等同于Kongo宇宙学中现有的概念。17世纪的传教士文件声称,他们发现了一个信仰单一上帝但不知道他的名字的人。这种宽容的皈依做法与美洲经常发生的暴力的西班牙皈依做法有着巨大的不同,后者基于一个需要"改变主意"的原则。在孔戈的部分地区,基督教被接受,不是作为一种新的宗教来取代旧的宗教,而是作为一种与现有结构完全兼容的新的融合邪教

葡萄牙传教士编写了基孔戈语词典和语法,并带来了许多葡萄牙宗教文本的翻译,从而通过圣职的过程发展了当地识字的牧师阶层。1506-1543年在位的孔戈国王阿方索一世不仅识字,而且用葡萄牙语说话和写作,他的儿子恩里克被派往欧洲完成宗教训练。阿方索给梵蒂冈和葡萄牙主教的许多清晰的信件是殖民前非洲领导人和孔戈基督教信仰反思的一些最重要记录。
介绍(英)This Kongo cross, like earlier related works, is based on European prototypes. Earlier Kongo renditions of this subject depict Christ with naturalistically modeled arms, legs, and torso that emphasize musculature. Additionally, his face is rendered in the throes of an arduous death. However, later examples of this style suggest a more profound assimilation of the cross with local idioms.

In this work, Christ's hair is that of a Kongolese subject and his facial features have been reduced to stylized abbreviations that are less detailed in their descriptiveness. His hands and feet are flattened and the feet are joined into a single five-toed limb, which, according to interpretations of Kongo gestures, affords heightened spiritual power. The wrap and ribs are rendered as simplified to geometric linear abstractions. Christ is depicted with large protruding oval eyes, a common motif in Kongo art representing the supernatural vision of a human who is possessed by an ancestor or deity. Below Christ and above his shoulders are small, highly stylized praying figures. Their role and identities are unknown, but they may be mourners or ancestors.

Considered an emblem of spiritual authority and power, the Christian cross was integrated into Kongo ancestral cults and burial rituals, and was believed to contain magical protective properties. In Kongo culture, crosses were believed to intervene in matters ranging from illness and fertility to rainfall.
------------------------------------------------------------------------------------------------------------------
Thematic Page: African Christianity/Kongo

In 1491 King Nzinga converted to Christianity of his own free will, urging the Kongo nobility and peasant classes to follow suit. To varying degrees the Kongo kingdom remained Christian for the next two hundred years. Scholars continue to dispute the authenticity of Kongolese Christian faith and the degree to which the adoption of a new faith was motivated by political and economic realities. From the time of Nzinga's conversion until the 17th century, Kongo leadership engaged in extensive communications with religious and political leaders from Europe, including the Pope and other members of the Vatican who accepted the Kongo church as orthodox.

The Kongo kingdom was one of the largest in Sub-Saharan Africa during this period, spanning over 115,000 square miles, had a highly centralized monarchy as well as a powerful noble class. The urban nobility sustained its luxurious lifestyle through a heavy tax system levied on the rural peasant class. Bulk products from the provinces, including copper, salt, wild animal products (hides and ivory), as well as cloth and later slaves, were traded to the Portuguese. Conversion to Christianity solidified these important trading relationships.

The Kongolese nobility swiftly adopted Christianity for several reasons. The first is that the nature of the centralized government and the hierarchically structured society facilitated the dissemination of information. The translations of Christian doctrine into the local language, KiKongo, was done such that words like spirit, god, and holy were rendered directly equivalent to existing concepts in Kongo cosmology. Missionary documents from the seventeenth century claimed that they had found a people who had believed in a single god, but had not known his name. This tolerant version of conversion practice differs dramatically from the often, violent Spanish equivalent in the Americas, which was based on a principle requiring a "change of heart." In parts of Kongo Christianity was accepted, not as a new religion which would replace the old, but rather as a new syncretic cult which was fully compatible with existing structures.

Portuguese missionaries wrote Kikongo dictionaries and grammars and brought many translations of Portuguese religious texts, thus through the process of ordination a local literate class of priests developed. Alfonso I, the Kongo king who reigned from 1506-1543 was not only literate, but also spoke and wrote in Portuguese and his son Henrique was sent to Europe to complete his religious training. Alfonso's many articulate letters to the Vatican and to Portuguese Bishops are some of the most important records of reflections made by a pre-colonial African leader and of Kongo Christian faith.
  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。