十字架图标 - 美国大都会艺术博物馆展品查阅

品名（中）	十字架图标
品名（英）	Icon with the Crucifixion
入馆年号	1917年，17.190.44
策展部门	中世纪艺术（Medieval Art）
创作者
创作年份	公元 925 - 公元 975
创作地区	制造于: 可能是君士坦丁堡（Made in: probably Constantinople）
分类	常春藤（Ivories）
尺寸	5 15/16 × 3 1/2 × 5/16 英寸 (15.1 × 8.9 × 0.8 厘米)
介绍（中）	作为拜占庭象牙圣像语料库中的杰作，这幅十字架的小幅代表是三联画中唯一幸存的部分，其翅膀现在缺失了。它可能被用作私人环境中的个人灵修对象。整个场景都发生在由雕刻的柱子支撑的秃顶下。左上角和右上角包含程式化的棕榈树，有时在手稿插图中的类似位置看到这个细节。基督被代表在死亡中瘫倒，除了perizoma或缠腰布外，全裸。在脚支撑下是三个罗马士兵，他们正在为基督的无缝长袍玩骰子（约翰福音19：23-24）。在构图的底部，基督的十字架刺穿了一个斜倚的胡须男性形象的腹部，代表冥界的统治者哈迪斯，古典神话中死者的住所。这是一个独特的细节，直观地宣告了基督战胜死亡和罪恶。补充铭文肯定了"植入阴间胃中的十字架"。圣母玛利亚和使徒约翰的身影站在十字架的两侧;圣母对基督做出修辞手势，而使徒则悲伤地举起手放在脸上。这种温和的内省感与雅典附近十一世纪达夫尼修道院的马赛克图像相似。这种拜占庭式的十字架描绘强调了基督战胜死亡。在这种情况下，十字架既象征着基督被钉十字架赢得人类救恩的武器，也象征着胜利的标准。这一信息的影响通过构图的简单性得到了出色的传达，建筑天篷下方的大面积未雕刻象牙为标志。由此产生的浅空间为人物的情感悲情创造了一个戏剧性的舞台。
介绍（英）	A masterpiece in the corpus of Byzantine ivory icons, this small representation of the Crucifixion is the only surviving portion of a triptych whose wings are now missing. It was probably used as a personal devotional object in a private setting. The entire scene is represented taking place beneath a baldachin supported by columns carved á jour. The upper left and right corners contain stylized palmettes, a detail sometimes seen in an analogous position in manuscript illustrations. Christ is represented slumped in death, nude except for a perizoma, or loincloth. Underneath the foot support are three Roman soldiers who are playing dice for Christ's seamless robe (John 19:23–24). At the bottom of the composition, Christ's cross pierces the belly of a reclining, bearded male figure representing Hades, ruler of the Underworld, abode of the dead in classical mythology. This is a unique detail that visually proclaims Christ's triumph over death and sin. The complementary inscription affirms "the cross implanted in the stomach of Hades." The figures of the Virgin Mary and the Apostle John stand on either side of the cross; the Virgin makes a rhetorical gesture toward Christ, while the Apostle raises his hand to his face in sorrow. This feeling of gentle introspection parallels the mosaic image of the same scene found at the eleventh-century Monastery of Daphni near Athens. This Byzantine depiction of the Crucifixion emphasizes Christ's victory over death. In this case, the cross signifies both the weapon with which Christ's crucifixion wins man's salvation and a victory standard. The impact of this message is brilliantly conveyed through the simplicity of the composition, which is marked by large areas of uncarved ivory underneath the architectural canopy. The resulting shallow space creates a dramatic stage for the emotional pathos of the figures.