用狮子后腿雕刻成圆形的家具支架 - 美国大都会艺术博物馆展品查阅

品名（中）	用狮子后腿雕刻成圆形的家具支架
品名（英）	Furniture support carved in the round with a lion's hind leg
入馆年号	1962年，62.269.7
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	9.53 x 2.95 x 1.89 英寸 (24.21 x 7.49 x 4.8 厘米)
介绍（中）	这件作品被雕刻成狮子右后腿的形状。它是在沙尔曼尼瑟堡的一个大储藏室里发现的，这是尼姆鲁德的一座皇家建筑，可能被用来存放亚述人在军事行动中收集的战利品和贡品。腿部肌肉柔和地呈现，三个爪子单独铰接成低浮雕。刺穿内爪的销钉孔和这条腿所站立的梯形榫卯表明这件作品被安装到框架中，可能是一件家具的一部分。腿的内侧是平坦的，上部是方形的，在最厚区域的两侧有两个大的、保存不佳的榫眼，可能将其固定在最初所属的木制家具上。例如，狮身人面像宝座是一种仪式椅，两侧是狮身人面像，可能受到埃及轿子的影响，在腓尼基艺术中描绘，并被腓尼基国王使用。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 piece is carved into the shape of a lion’s right hind leg. It was found in a large storeroom at Fort Shalmaneser, a royal building at Nimrud that was probably used to store booty and tribute collected by the Assyrians while on military campaign. The leg muscles are softly rendered and the three claws are individually articulated in low relief. A dowel hole that pierces the inner paw and the trapezoidal tenon on which this leg stands suggest that this piece was fitted into a frame, likely as part of a piece of furniture. The inner side of the leg is flat and the upper portion is square-cut with two large, poorly preserved mortises at either side of the thickest area, likely to secure it to the piece of wooden furniture to which it originally belonged. For example, sphinx thrones, a type of ceremonial chair flanked by sphinxes likely influenced by Egyptian palanquins, are depicted in Phoenician art and were used by Phoenician kings. 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.