斑块碎片 - 美国大都会艺术博物馆展品查阅

品名（中）	斑块碎片
品名（英）	Plaque fragment
入馆年号	1952年，52.23.11
策展部门	古代近东艺术（Ancient Near Eastern Art）
创作者
创作年份	公元前 800 - 公元前 600
创作地区
分类
尺寸	1.85 x 0.71 英寸 (4.7 x 1.8 厘米)
介绍（中）	这种小象牙碎片可能是在公元前七世纪末亚述最终失败期间尼姆鲁德的宫殿建筑群被洗劫时因暴露在火中而变黑的，像这样的雕刻象牙碎片在公元前一千年早期广泛用于生产精英家具，并且经常使用细木工技术和胶水镶嵌在木框架中。虽然零碎，但这件作品仍然保留了一个穿着短裙的人物的一部分，可以看到他肌肉发达的腿向右大步走去。裙子在腰部系上腰带，表现为带有装饰边框的重叠褶皱织物，有点类似于大都会博物馆收藏中另一块象牙牌匾上展示的有翅膀人物与狮鹫战斗所穿的衣服（61.197.11）。尼姆鲁德的宫殿和储藏室由亚述国王阿舒尔纳西尔帕尔二世建造，存放了数千件雕刻象牙。大多数象牙用作家具镶嵌物或小贵重物品，如盒子。虽然其中一些雕刻的风格与西北宫殿墙壁上的大型亚述浮雕相同，但大多数象牙都展示了与北叙利亚和腓尼基城邦艺术相关的图像和风格。腓尼基风格的象牙的特点是使用与埃及艺术相关的图像，例如狮身人面像和戴法老王冠的人物，以及使用精致的雕刻技术，例如镂空和彩色玻璃镶嵌。北叙利亚风格的象牙倾向于以更动态的构图描绘更粗壮的人物，雕刻成实心牌匾，添加的装饰元素较少。但是，有些作品不容易融入这三种风格中的任何一种。大多数象牙可能是亚述国王从附庸国收集的贡品，以及被征服的敌人的战利品，而有些可能是在尼姆鲁德的作坊中制造的。为这些物品提供原材料的象牙几乎可以肯定来自非洲大象，从埃及南部的土地进口，尽管大象确实居住在叙利亚的几个河谷，直到公元前八世纪末被猎杀灭绝。
介绍（英）	This small ivory fragment was probably blackened through exposure to fire when the palace complexes at Nimrud were sacked during the final defeat of Assyria at the end of the seventh century B.C. Carved ivory pieces such as this were widely used in the production of elite furniture during the early first millennium B.C., and were often inlaid into a wooden frame using joinery techniques and glue. Although fragmentary, this piece still preserves part of a figure wearing a short skirt, whose muscular leg can be seen striding to the right. The skirt is belted at the waist, and is represented as overlapping pieces of pleated fabric with a decorated border, somewhat similar to the garment worn by the winged figure shown fighting a griffin on another ivory plaque in the Metropolitan Museum’s collection (61.197.11). Built by the Assyrian king Ashurnasirpal II, the palaces and storerooms of Nimrud housed thousands of pieces of carved ivory. Most of the ivories served as furniture inlays or small precious objects such as boxes. While some of them were carved in the same style as the large Assyrian reliefs lining the walls of the Northwest Palace, the majority of the ivories display images and styles related to the arts of North Syria and the Phoenician city-states. Phoenician style ivories are distinguished by their use of imagery related to Egyptian art, such as sphinxes and figures wearing pharaonic crowns, and the use of elaborate carving techniques such as openwork and colored glass inlay. North Syrian style ivories tend to depict stockier figures in more dynamic compositions, carved as solid plaques with fewer added decorative elements. However, some pieces do not fit easily into any of these three styles. Most of the ivories were probably collected by the Assyrian kings as tribute from vassal states, and as booty from conquered enemies, while some may have been manufactured in workshops at Nimrud. The ivory tusks that provided the raw material for these objects were almost certainly from African elephants, imported from lands south of Egypt, although elephants did inhabit several river valleys in Syria until they were hunted to extinction by the end of the eighth century B.C.