用跪着的公牛切开家具牌匾 - 美国大都会艺术博物馆展品查阅

品名（中）	用跪着的公牛切开家具牌匾
品名（英）	Incised furniture plaque with a kneeling bull
入馆年号	1959年，59.107.21
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	1.54 x 2.13 x 0.16 英寸 (3.91 x 5.41 x 0.41 厘米)
介绍（中）	这块梯形牌匾被发现在一个房间里，该房间已被确定为沙尔曼尼瑟堡皇家住所的一部分，沙尔曼尼瑟堡是尼姆鲁德的一座皇家建筑，可能用于存放亚述人在军事行动中收集的贡品和战利品。像这样带有切割装饰的象牙被认为是亚述风格，类似于西北宫殿墙壁上的大型浮雕。这块牌匾上描绘的跪着的公牛，其程式化的肌肉组织和精心切割的解剖结构，让人想起宫殿浮雕中人物所穿的长袍上绣的动物，可以与新亚述时期的字形艺术和釉面陶瓷中的动物描绘进行比较。刺穿斑块的两个销钉孔可能用于将其固定在无法存活的框架或其他背衬上。在尼姆鲁德，在王座室和礼仪或皇家住宅套房等皇家区域发现了亚述风格的象牙。亚述象牙的有限分布可能表明它们的使用和展示受到高度限制。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 trapezoidal plaque was found in a room that has been identified as part of the royal residency at Fort Shalmaneser, a royal building at Nimrud that was probably used to store tribute and booty collected by the Assyrians while on military campaign. Ivories with incised decoration like this one have been attributed to an Assyrian style similar to the large reliefs lining the walls of the Northwest Palace. The kneeling bull depicted on this plaque, with its stylized musculature and elaborately incised anatomy, recalls the animals embroidered on the robes worn by the figures in the palace reliefs and can be compared with depictions of animals in glyptic art and glazed ceramics from the Neo-Assyrian period. Two dowel holes that pierce the plaque were probably used to fasten it to a frame or other backing that does not survive. At Nimrud, Assyrian style ivories have been found in royal areas such as throne rooms and ceremonial or royal residential suites. The limited distribution of Assyrian ivories could suggest that their use and display was highly restricted. 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.