带狮身人面像的六边形瓷砖组合 - 美国大都会艺术博物馆展品查阅

品名（中）	带狮身人面像的六边形瓷砖组合
品名（英）	Hexagonal Tile Ensemble with Sphinx
入馆年号	1976年，1976.245
策展部门	伊斯兰艺术（Islamic Art）
创作者
创作年份	公元 1135 - 公元 1195
创作地区	来自于: 土耳其, 科尼亚（From: Turkey, Konya）
分类	瓷砖（Ceramics-Tiles）
尺寸	高 9 1/4 英寸 (23.5 厘米) 宽 8 1/4 英寸 (21 厘米) 深 1 1/8 英寸 (2.9 厘米)
介绍（中）	到了20世纪初，两层楼的科尼亚·KşK基本上已经倒塌，但建筑碎片表明了它以前的艺术复杂性和奢华的多色装饰。这座Rum Seljuq"城堡宫殿"的上层由一个伊旺（iwan）占据，三面阳台朝外，位于苏丹国首都科尼亚（Konya）上方，因此既起到了观景台的作用，也成为苏丹可以考虑其统治的地方。这些瓷砖的奢华米纳（mina˒i）陶瓷工艺让人联想到伊朗卡山制造的豪华器皿。灰泥浮雕还让人想起了在塞尔朱克王国东部和西部发展起来的艺术语言，这些语言最终延伸到了基督教的土地上，如亚美尼亚首都阿尼的类似灰泥浮雕所示。真实而神奇的动物形象，如狮身人面像（1976.245），以及骑马战斗或皇家狩猎的场景——例如，通过灰泥碎片中的追逐动物主题（1984.505a-d）来说明——旨在重新创造一个尘世的天堂或理想的生活，以及主宰这个宇宙的君主的公正统治。它还为统治者、他的随从和苏丹国提供了超自然和神奇的保护。科尼亚·KşK虽然位于城市环境中，但却唤起了苏丹在其国家馆等待的理想自然环境，以及天堂等待他的天堂理想。
介绍（英）	By the early twentieth century, the two-story Konya Köşk had largely fallen into ruin, but architectural fragments speak to its former artistic sophistication and lavish polychrome ornamentation. The upper story of this Rum Seljuq “citadel-palace” was dominated by an iwan with balconies on three sides facing outward over the sultanate’s capital, Konya, thereby functioning as both a belvedere and a point from which the sultan could consider his dominion. The luxurious mina˒i ceramic technique of these tiles is reminiscent of that associated with the luxury vessels made in Kashan, Iran. The stucco reliefs also recall the artistic language developing both in the eastern and western parts of the Seljuq realm, which eventually extended into Christian lands, as seen in comparable stucco reliefs found at the Armenian capital at Ani. The imagery of real and fantastic animals, such as this sphinx (1976.245), and scenes of equestrian combat or royal hunt – illustrated for example through the motif of chasing animals seen in stucco fragments (1984.505a-d) – aimed to re-create an earthly paradise or the ideal life and just dominion of the sovereign presiding over this cosmos. It also offered supernatural and magical protection to the ruler, his entourage, and the sultanate. The Konya Köşk, although situated in an urban environment, evoked the ideal natural setting awaiting the sultan at his country pavilions as well as the paradisiacal ideal awaiting him in heaven.