家具或化妆品盒上雕刻着一只阔步的公牛 - 美国大都会艺术博物馆展品查阅

品名（中）	家具或化妆品盒上雕刻着一只阔步的公牛
品名（英）	Furniture or cosmetic box plaque carved in relief with a striding bull
入馆年号	1964年，64.37.5
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	1.85 x 2.44 x 0.31 英寸 (4.7 x 6.2 x 0.79 厘米)
介绍（中）	这块略微弯曲的牌匾是浮雕，上下边缘有一头大步前进的公牛，右边有一株风格化的植物。它是在Shalmaneser堡的一个储藏室里发现的，这是Nimrud的一座皇家建筑，可能是用来存放亚述人在军事行动中收集的贡品和战利品的。最初，这件作品可能是设置在一个连续的雕带上，并附在其他带有跨步动物的象牙牌匾上。完整的圆形元素会装饰桌子或床的腿，或者用作小化妆盒的装饰。公牛的屁股和尾巴无法存活。它沉重的身体填满了牌匾的空隙，这是北叙利亚象牙的特征。它的两条腿被雕刻成圆形。它钻得很深的眼睛可能镶嵌着彩色玻璃或半宝石，蹄子上钻的三个小孔也可能镶嵌着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，存放着数千件雕刻的象牙。象牙大多用作家具镶嵌物或盒子等小型贵重物品。虽然其中一些象牙的雕刻风格与西北宫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有关的图像和风格。腓尼基风格的象牙的特点是使用了与埃及艺术相关的图像，如狮身人面像和戴法老王冠的人物，以及使用了精细的雕刻技术，如透雕和彩色玻璃镶嵌。北叙利亚风格的象牙往往以更具活力的构图描绘更敦实的人物，雕刻成实心牌匾，添加的装饰元素较少。然而，有些单品不容易融入这三种风格中的任何一种。大部分象牙可能是亚述国王从诸侯国收集的贡品，以及被征服的敌人的战利品，而一些象牙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从埃及南部进口的非洲象，尽管大象确实栖息在叙利亚的几个河谷中，直到公元前八世纪末被猎杀灭绝。
介绍（英）	This slightly curved plaque is carved in relief with a striding bull set within thin frames at the upper and lower edges and bordered by a stylized plant on the right. It was found in a storeroom 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. Originally, this piece was probably set in a continuous frieze and attached to other ivory plaques with striding animals. The complete, circular element would have decorated the leg of a table or bed, or served as decoration for a small cosmetic box. The bull’s rear and tail do not survive. Its heavy body fills the empty space of the plaque, a composition characteristic of North Syrian ivories. Two of its legs are carved in the round. Its deeply drilled eye would have been inlaid with colored glass or a semiprecious stone, and the three small holes drilled into the hooves may have also been inlaid. 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.