盖子碎片 - 美国大都会艺术博物馆展品查阅

品名（中）	盖子碎片
品名（英）	Lid fragment
入馆年号	1954年，54.117.9
策展部门	古代近东艺术（Ancient Near Eastern Art）
创作者
创作年份	公元前 900 - 公元前 700
创作地区
分类
尺寸	4.92 x 4.06 x 0.59 英寸 (12.5 x 10.31 x 1.5 厘米)
介绍（中）	这块破碎的雕刻象牙可能是一个小圆盒子的盖子，被学者称为pyxis。大约四分之一的盖子在出土后被修复，并且可以通过其均匀的颜色和表面纹理与古代物体区分开来。盖子的顶面装饰着一个带有两排同心花瓣的中央玫瑰花结。盖子可能是通过从边缘突出的两个对称唐钻孔的钉子固定在盒子上的，当一个钉子被移除而另一个钉子保持原位时，盖子可以旋转打开。盖子顶部的其他四个钻孔不会完全刺穿盖子。这些可能被用作添加到顶部的单独装饰元素的插座，这些元素无法幸存下来，例如动物的小象牙人物。盖子的边缘雕刻着浮雕，上面有一隻由棕榈树隔开的鸵鸟带，上下以串珠框架为边界。这种类型的盒子可以装贵重物品，包括香料、熏香、化妆品、香水或药膏等奢侈品。盖子的黑色和灰色表明，在公元前614年和612年亚述最终失败时，尼姆鲁德的亚述宫殿建筑被大火烧毁，由亚述国王亚述纳西尔帕尔二世建造，尼姆鲁德的宫殿和储藏室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 broken piece of carved ivory was probably a lid for a small round box, called a pyxis by scholars. Approximately a quarter of the lid was restored after the object was excavated, and can be distinguished from the ancient object by its uniform color and surface texture. The top surface of the lid is decorated with a central rosette with two concentric rows of petals. The lid was probably fixed to its box by pegs placed through the holes drilled through the two symmetrical tangs projecting from the edge, allowing the lid to swivel open when one peg was removed and the other remained in place. Four other drill holes in the top of the lid do not pierce the lid completely. These were probably used as sockets for separate decorative elements added to the top that do not survive, such as small ivory figures of animals. The edges of the lid are carved in relief with a frieze of running ostriches separated by palm trees, bordered above and below by a beaded frame. Boxes of this type could have held precious goods including luxurious commodities such as spices, incense, cosmetics, perfumes or ointments. The black and gray color of the lid suggests that is was damaged by fire during the sack of the Assyrian palace buildings at Nimrud at the time of Assyria’s final defeat in 614 and 612 B.C. 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.