吉他 - 美国大都会艺术博物馆展品查阅

品名（中）	吉他
品名（英）	Guitar
入馆年号	1990年，1990.220
策展部门	乐器（Musical Instruments）
创作者	José Massague【1690 至 1764】【西班牙人】
创作年份	公元 1745 - 公元 1770
创作地区	西班牙, 巴塞罗那（Spain, Barcelona）
分类	长笛拨弦琴（Chordophone-Lute-plucked-fretted）
尺寸	Total length: 933 毫米
介绍（中）	这种乐器可以追溯到18世纪中期，代表了巴洛克五弦（双弦）吉他的最后时代。约瑟夫·马萨格（Joseph Massague，III）是巴塞罗那一位杰出的制造商，接替了他的父亲（约瑟夫·马萨格二世，小提琴制造商）和祖父（约瑟夫·马萨格一世），他们都是木匠协会的考官。这件乐器保持着非凡的状态，是Massgue精湛工艺的一个很好的例子。这里使用的装饰是马萨格特有的，尽管珍珠母是后来添加的，但指板和墓石上的蜿蜒图案，以及音板上的镶嵌红木图案，都可以在马萨格的其他乐器上找到 Massague的这把吉他是早期巴洛克风格的：有五道琴弦，没有在玫瑰下面的音板上昂首阔步。它展示了早期吉他演奏传统的流行，尽管18世纪下半叶出现了六门吉他。这种乐器大约于1760年在巴塞罗那制造，当时六段吉他开始流行起来。尽管如此，乐器的磨损和后来的修复工作表明，直到本世纪末，它仍然得到了很好的使用，这表明在这一过渡时期，这两种吉他类型共存。（Daniel Wheeldon，2016年3月28日）技术说明：十把弦吉他（五门双人课程）；两件式松木顶部（非原装），带红木镶边，并用松木/红木/p/r镶边（内侧）；音孔直径81.94毫米，带雕刻复杂的松木玫瑰花结，玫瑰花结周围用胶泥砌成p/r/p/r之字形，两侧用p/r/p/p/r圈出，响板上镶嵌红木装饰，延伸到指板上和桥下，红木系桥（非原装）；两件式有斑点和花纹的枫木背面，红木镶边；肋骨、颈部和墓石背面由有斑点和花纹的枫木制成；红木指板，中心饰有蜿蜒的波浪，由多层木材和珍珠母（非原装）制成，并延续到墓石上；十三个琴品，包括九个系在琴颈上的肠琴品和四个延伸到音板上的镶嵌红木琴品；枫木主轴箱，配有十个摩擦调谐器（五个双调谐器）。（Daniel Wheeldon，2016年3月28日）
介绍（英）	This instrument dates from the mid-18th century, representing the final era of the Baroque 5-course (double strung) guitar. Joseph Massague (III) was a prominent maker in Barcelona who succeeded his father (Joseph Massague II, violin maker) and grandfather (Joseph Massague I) both of whom were examiners in the carpenters’ guild. This instrument remains in remarkable condition and is a good example of Massgue’s fine craftsmanship. The decorations used here are specific to Massague, although the mother-of-pearl is a later addition, the meandering pattern on the fingerboard and headstock, and the inlayed rosewood motifs on the soundboard can be found on other instruments by Massague. This guitar by Massague is of an earlier Baroque style: having five-courses of strings and no strutting on the soundboard below the rose. It demonstrates the popularity of earlier guitar playing traditions despite the emerging six-course guitar in the second half of the 18th century. This instrument was made in Barcelona circa 1760, at a time when the six-course guitar was beginning to excel in popularity. Nevertheless, wear on the instrument and later repair work shows that it was still being well used towards the end of the century, demonstrating the coexistence of both guitar types during this transitional period. (Daniel Wheeldon, 3/28/2016) Technical description: Ten string guitar (five double courses); two-piece pine top (not original) with rosewood binding and purfling (inside) of pine/rosewood/p/r; soundhole diameter of 81.94 mm with intricately carved pine rosette, binding around rosette is mastic with a zig-zag patter of p/r/p/r, circled by p/r/p/r/p/r on either side, inlaid rosewood decoration on soundboard extending onto fingerboard and below the bridge, rosewood tie bridge (not original); two-piece flecked and figured maple back with rosewood binding; ribs, neck, and back of headstock made of flecked and figured maple; rosewood fingerboard with a veneered center decoration of a meandering wave made from multiple layers of wood and pieces of mother-of-pearl (not original) and continuing onto headstock; thirteen frets including nine gut frets tied to the neck and four inlaid rosewood frets extending onto the soundboard; maple headstock with ten friction tuners (five double dourses). (Daniel Wheeldon, 3/28/2016)