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	1957年，57.27.41
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	0.71 x 0.08 英寸 (1.8 x 0.2 厘米)
介绍（中）	这块小象牙碎片可能是在公元前七世纪末亚述最终战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。它描绘了一个留着胡须的头，戴着松软的帽子，在脸前举起一只拳头。尼姆鲁德西北宫的石雕，现在在大英博物馆（124562），展示了一个戴着类似帽子和手势的人物，他似乎是一位外国政要。最初的构图可能与其他亚述雕刻象牙和浮雕相似，这些象牙和浮雕显示了宫廷官员和外国政要向国王进贡的游行。像这样的雕刻象牙件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。以这种风格雕刻的象牙，其中类似于装饰亚述宫殿墙壁的石头浮雕中描绘的场景，使用切割技术表示，被认为是在亚述作坊中制作的，供皇室使用。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. It depicts a bearded head in profile, wearing a floppy cap, and raising one fist in front of the face. A stone relief from the Northwest Palace at Nimrud, now in the British Museum (124562), shows a figure with similar cap and gesture who seems to be a foreign dignitary. The original composition was probably similar to other Assyrian carved ivories and reliefs that show processions of court officials and foreign dignitaries bringing tribute to the king. 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. Ivories carved in this style, in which scenes similar to those depicted in the stone reliefs decorating the walls of the Assyrian palaces are represented using an incised technique, are thought to have been made in Assyrian workshops for the use of the royal court. 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.