十字架 - 美国大都会艺术博物馆展品查阅

品名（中）	十字架
品名（英）	Crucifix
入馆年号	1999年，1999.295.7
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 1500 - 公元 1700
创作地区	刚果共和国（Republic of the Congo）
分类	金属雕塑（Metal-Sculpture）
尺寸	高 10 3/4 × 宽 7 × 深 3/4 英寸 (27.3 × 17.8 × 1.9 厘米)
介绍（中）	这部作品记录了两种截然不同的世界观的融合。当葡萄牙人在 1400 年代后期首次将基督教圣像引入中非时，其设计的元素与当地的精神戒律产生了深刻的共鸣。然后，在十六世纪初，刚果国王受洗，接受天主教作为国教，与葡萄牙国王和教皇进行交流，并通过宫廷赞助基督教文物来强调这些联盟。这件著名作品的刚果设计师显着改变了作为其模型的西方原型。在一个扁平的十字架的中心，一个具有非洲特征和宽阔、扁平的脚和手的基督形象被铸造成浮雕，双臂伸展。四个小人物的抽象模型，他们的双手在祈祷中紧握，与基督更表现主义的处理形成鲜明对比。他的躯干由切开的肋骨、凸起的和肚脐以及骨盆周围的包裹物来定义。当顶端和底部描绘的恳求者跪下时，另外两个人舒适地坐在十字架任何一只手臂的顶部边缘。
介绍（英）	This work documents the convergence of two distinctive worldviews. When Christian icons were first introduced to central Africa by the Portuguese in the late 1400s, elements of their design resonated profoundly with local spiritual precepts. Then, in the early sixteenth century, the king of Kongo was baptized, adopted Catholicism as the state religion, entered into exchanges with the king of Portugual and the pope, and emphasized those alliances through courtly patronage of Christian artifacts. The Kongo designer of this prestige piece significantly transformed the Western prototype that served as its model. At the center of a flat cruciform, a Christ figure with African features and broad, flattened feet and hands was cast in relief, arms extended. The abstract modeling of four smaller figures whose hands are clasped in prayer contrasts with the more expressionistic treatment of Christ. His torso is given definition by the incised ribs, raised nipples and navel, and wrapper around his pelvis. While the suppliants depicted at the apex and base kneel, the two others sit comfortably on the top edge of either arm of the cross.