带有猖獗山羊和橄榄树的黎凡坦船只 - 美国大都会艺术博物馆展品查阅

品名（中）	带有猖獗山羊和橄榄树的黎凡坦船只
品名（英）	Levantine vessel with rampant goats and olive trees
入馆年号	1950年，50.198.2
策展部门	古代近东艺术（Ancient Near Eastern Art）
创作者
创作年份	公元前 1200 - 公元前 800
创作地区
分类
尺寸	高 6 1/2 英寸 (16.4厘米)
介绍（中）	这只容器由一块象牙雕刻而成，呈锥形圆筒形，顶部有一个小柄杯子。杯子已经损坏，可能有另一个与保存的杯子相对的把手。船的底座现在也同样不见了。船只底部周围浮雕有一个场景，顶部和底部有装饰性边框，显示两只公山羊在树上吃草。同一类型的第三棵树单独出现，没有放牧山羊。山羊用后腿站立，以达到植物上的嫩叶，这是这些动物的典型行为。山羊直立吃草的图案早在乌鲁克晚期就出现在古代近东艺术中。由于山羊的进食姿势与其交配姿势完全相同，这幅图像被解释为是植物和动物自然世界的丰饶和丰富的例证。树木下垂的树枝和山羊沉重的身躯给了图像一种令人信服的质量感和体积感。这种植物很可能被认定为橄榄树，这表明了它与爱琴海艺术的联系，在爱琴海的艺术中，橄榄树经常被描绘出来，尤其是克里特岛的米诺斯壁画。这只容器由一块象牙雕刻而成，呈锥形圆筒形，顶部有一个小柄杯子。杯子已经损坏，可能有另一个与保存的杯子相对的把手。船的底座现在也同样不见了。船只底部周围浮雕有一个场景，顶部和底部有装饰性边框，显示两只公山羊在树上吃草。同一类型的第三棵树单独出现，没有放牧山羊。山羊用后腿站立，以达到植物上的嫩叶，这是这些动物的典型行为。山羊直立吃草的图案早在乌鲁克晚期就出现在古代近东艺术中。由于山羊的进食姿势与其交配姿势完全相同，这幅图像被解释为是植物和动物自然世界的丰饶和丰富的例证。树木下垂的树枝和山羊沉重的身躯给了图像一种令人信服的质量感和体积感。这种植物可能被认定为橄榄树，这表明它与爱琴海艺术有关，在爱琴海的艺术中，橄榄树经常被描绘出来，尤其是克里特岛的米诺斯壁画。
介绍（英）	Carved from a single piece of elephant ivory, this vessel takes the form of a tapering cylinder with a small handled cup on top. The cup has been damaged and may have had a second handle opposite the one which is preserved. The base of the vessel is likewise now missing. Carved in relief around the base of the vessel is a scene framed by decorative borders at top and bottom, showing two male goats grazing from trees. A third tree of the same type is represented on its own, without a grazing goat. The goats stand on their hind legs in order to reach tender leaves high on the plant, a typical behavior of these animals. The motif of a goat standing upright to graze from a plant appears in ancient Near Eastern art as early as the Late Uruk period. As the goat’s feeding posture is identical to its mating posture, the image has been interpreted as exemplifying the fertility and abundance of the natural world of plants and animals. The drooping branches of the trees and the heavy bodies of the goats give a convincing sense of mass and volume to the image. The probable identification of the vegetation as olive trees suggests a connection with Aegean art in which olive trees are frequently depicted, notably in Minoan wall paintings from Crete.Carved from a single piece of elephant ivory, this vessel takes the form of a tapering cylinder with a small handled cup on top. The cup has been damaged and may have had a second handle opposite the one which is preserved. The base of the vessel is likewise now missing. Carved in relief around the base of the vessel is a scene framed by decorative borders at top and bottom, showing two male goats grazing from trees. A third tree of the same type is represented on its own, without a grazing goat. The goats stand on their hind legs in order to reach tender leaves high on the plant, a typical behavior of these animals. The motif of a goat standing upright to graze from a plant appears in ancient Near Eastern art as early as the Late Uruk period. As the goat’s feeding posture is identical to its mating posture, the image has been interpreted as exemplifying the fertility and abundance of the natural world of plants and animals. The drooping branches of the trees and the heavy bodies of the goats give a convincing sense of mass and volume to the image. The probable identification of the vegetation as olive trees suggests a connection with Aegean art in which olive trees are frequently depicted, notably in Minoan wall paintings from Crete.