圆柱印章和现代印象：女神带领崇拜者走向坐着的神；公牛神 - 美国大都会艺术博物馆展品查阅

品名（中）	圆柱印章和现代印象：女神带领崇拜者走向坐着的神；公牛神
品名（英）	Cylinder seal and modern impression: goddess leading a worshiper to a seated deity; bull god
入馆年号	1991年，1991.368.3
策展部门	古代近东艺术（Ancient Near Eastern Art）
创作者
创作年份	公元前 2000 - 公元前 1800
创作地区
分类
尺寸	7/8 × 9/16 × 9/16 英寸 (2.3 × 1.5 × 1.5 厘米)
介绍（中）	尽管早在公元前七千年，雕刻的石头就被用来在粘土上压印印记，但公元前四千年，可以在粘土上滚动的雕刻圆柱体的发明使得印章设计更加复杂。这些最初在美索不达米亚使用的圆筒形印章，作为所有权或身份的标志。印章要么印在用来关闭罐子、门和篮子的粘土块上，要么印在记录商业或法律交易信息的泥板上。这些印章通常由宝石制成。保护性财产可能归因于材料本身和雕刻图案。印章对古代近东艺术的研究很重要，因为每个时期都有许多印章，因此，印章可以帮助确定时间阶段。通常保存的图像不再存在于任何其他媒介中，它们作为风格和图像的视觉编年史展示了印章的现代印象，从而可以看到整个设计。这枚印章显示了一位戴着角头饰的女神牵着崇拜者的手走向一位手持杯子的坐着的神；看台上的一艘船在他面前。他身后是五个人头（三个有角）。与主场景成直角的是一名男子与狮子搏斗，以及一名男子和公牛搏斗。田野里有一个新月和一个圆盘，一个背上有圆锥形物体的公牛祭坛，一只猴子和一些动物的头。这枚印章是古亚述时期发展起来的安纳托利亚式圆筒印章的一个特别好的例子。虽然采用了美索不达米亚圆柱印章的形式和呈现主题，但其安纳托利亚特色包括不同方向的人物、大量的小填充图案和动物、人物的条纹渲染以及服装的人字形图案。安纳托利亚印章被亚述人和安纳托利亚人使用，代表了这一时期安纳托利亚中部高度的跨文化接触所产生的高度创新和流动的艺术风格。
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. This seal shows a goddess wearing a horned headdress leading a worshiper by the hand towards a seated deity holding a cup; a vessel on a stand is before him. Behind him are five human heads (three with horns). At a right angle to the main scene are a man in combat with a lion and a man in combat with a bull. In the field are a crescent and a disk, a bull-altar with a conical object on its back, a monkey, and a number of animal heads. The seal is a particularly fine example of the Anatolian type of cylinder seal which developed during the Old Assyrian period. While adopting the Mesopotamian cylinder seal form and presentation theme, its Anatolian characteristics include figures in different orientations, an abundance of small filler motifs and animals, the striated rendering of figures, and the herringbone patterning of the clothing. Anatolian seals were used by both Assyrians and Anatolians and represent the highly innovative and fluid artistic styles born from the high degree of intercultural contact in central Anatolia during this period.