气缸密封件 - 美国大都会艺术博物馆展品查阅

品名（中）	气缸密封件
品名（英）	Cylinder seal
入馆年号	1985年，1985.357.29
策展部门	古代近东艺术（Ancient Near Eastern Art）
创作者
创作年份	公元前 1600 - 公元前 1100
创作地区
分类
尺寸	1.35 英寸 (3.43 厘米)
介绍（中）	虽然早在公元前七千年就已经使用雕刻石头在粘土上印章，但公元前四千年发明的可以在粘土上滚动的雕刻圆柱体允许开发更复杂的密封设计。这些圆柱密封件首先在美索不达米亚使用，作为所有权或识别的标志。海豹要么印在用于关闭罐子、门和篮子的粘土块上，要么将它们卷到记录商业或法律交易信息的粘土板上。印章通常由宝石制成。保护性能可能归因于材料本身和雕刻设计。印章对于古代近东艺术的研究很重要，因为每个时期都有许多例子幸存下来，因此可以帮助定义时间顺序。它们通常保留了在任何其他媒介中不再存在的图像，是风格和图像的视觉编年史。显示了密封件的现代印象，因此可以看到整个设计。从卡西特时期就知道几种风格的印章雕刻。所谓的"第一卡西特风格"可以追溯到古巴比伦的演示场景，其中崇拜者出现在国王或神灵面前，但与这种早期风格的区别在于冗长的铭文和带有细长人物的简短场景。这个乳白色的玉髓圆柱体雕刻着一个留着胡须的男性形象，戴着圆帽和长流苏连衣裙，站在一首八行赞美女神伊南娜的赞美诗前，是第一卡西特风格的一个很好的例子。这首赞美诗恳求女神在文明生活的各个方面（苏美尔语中的"我"）祝福努尔沙马什，她对此负责。卡西特时期的艺术家经常借鉴美索不达米亚丰富的历史传统。在这种情况下，早已死去的苏美尔语和古老的标志被用来书写铭文。这首赞美诗将女神确定为"阿加德的伊南娜"，这是与公元前 2350-2150 年在位的阿卡德国王相关的女神的一种形式。在这部作品和该时期的其他作品中展示的对过去的深入了解表明，非巴比伦卡西特统治者有兴趣掌握已经是一块古老土地的巴比伦的历史和文化。
介绍（英）	Although engraved stones had been used as early as the seventh millennium B.C. to stamp impressions in clay, the invention in the fourth millennium B.C. of carved cylinders that could be rolled over clay allowed the development of more complex seal designs. These cylinder seals, first used in Mesopotamia, served as a mark of ownership or identification. Seals were either impressed on lumps of clay that were used to close jars, doors, and baskets, or they were rolled onto clay tablets that recorded information about commercial or legal transactions. The seals were often made of precious stones. Protective properties may have been ascribed to both the material itself and the carved designs. Seals are important to the study of ancient Near Eastern art because many examples survive from every period and can, therefore, help to define chronological phases. Often preserving imagery no longer extant in any other medium, they serve as a visual chronicle of style and iconography. The modern impression of the seal is shown so that the entire design can be seen. Several styles of seal-carving are known from the Kassite period. The so-called “First Kassite Style” hearkens back to the Old Babylonian presentation scene in which a worshipper appears before a king or deity, but is distinguished from this earlier style by lengthy inscriptions and abbreviated scenes with elongated figures. This milky chalcedony cylinder, carved with a single, bearded male figure wearing a rounded cap and a long fringed dress who stands before an eight-line hymn to the goddess Inanna, is a fine example of the First Kassite Style. The hymn beseeches the goddess to bless Nur-Shamash, in all aspects of civilized life (the “me” in Sumerian), for which she is responsible. Kassite period artists often drew upon the rich historical traditions of Mesopotamia. In this case, the long-dead Sumerian language and archaic signs were used to write the inscription. The hymn identifies the goddess as “Inanna of Agade”, a form of the goddess associated with the Akkadian kings who reigned ca. 2350-2150 B.C. The deep knowledge of the past exhibited in this and other works of the period demonstrate the interest of the non-Babylonian Kassite rulers in mastering the history and culture of Babylonia, already an ancient land.