naos面板截面图 - 美国大都会艺术博物馆展品查阅

品名（中）	naos面板截面图
品名（英）	Section of panel from a naos
入馆年号	1923年，23.6.75a
策展部门	埃及艺术（Egyptian Art）
创作者
创作年份	公元前 522
创作地区	来自于: 埃及（From: Egypt）
分类
尺寸	长 20 × 宽 35 厘米 (7 7/8 × 13 3/4 英寸); Framed: 高 46.7 × 宽 31.5 × 深 6 厘米 (18 3/8 × 12 3/8 × 2 3/8 英寸)
介绍（中）	一块镂空神龛面板上的碎片描绘了一位女神展开翅膀保护一位跪着的国王。国王坐在装饰有镶板宫殿正面图案的底座上，在一个neb篮子上献上一只wedjat眼，整个篮子的顶部有一个nefer标志。wedjat眼睛是代表所有祭品的"伟大祭品"之一，比如圆形努壶或玛特女神的雕像，它传达了国王将所有美好事物呈现给上帝的信息。有问题的神不见了，可能位于这个元素和镜像元素之间该碎片与第二块木制镶嵌女神的碎片一起进入收藏，该碎片与卢浮宫的一块神殿碎片相匹配。卢浮宫的碎片可以与法老Seheribre Pedubast联系在一起，这位国王可能在公元前522年，也就是波斯征服埃及后不久，领导了一场反对波斯统治者大流士的叛乱。博洛尼亚也有同一位国王的另一个小组，这些小组被认为来自塞赫里布雷立足的梅菲特地区，尽管他似乎主要在达赫勒绿洲活动。博物馆的展板显示了一些与印有国王名字的展板不同的地方，但即使在日期确定的展板之间也存在差异。如果这些面板不一定都是现代风格的作品，那么玻璃的颜色、细胞的形式和人物的风格是大致一致的。
介绍（英）	The fragment from an openwork shrine panel depicts a goddess spreading her wings in protection of a small kneeling figure of a king. The king sits on a base decorated in the paneled palace-facade motif, and he offers a wedjat eye on a neb basket, the whole topped by a nefer sign. The wedjat eye is one of the 'great offerings' representing all offerings - like the round nu pot or the figure of the goddess Maat - and conveys that all good things are being rendered to the god by the king. The god in question is missing and would have been located in between this element and a mirroring element. The fragment came into the collection with a second fragment of a wooden inlaid goddess that proved to match a shrine fragment in the Louvre. The Louvre fragment can be associated with the pharaoh Seheribre Pedubast, a king who led a rebellion against the Persian ruler Darius in probably 522 BC, that is, shortly after the Persian conquest of Egypt. Another panel of the same king exists in Bologna, and these are thought to come from the Memphite region where Seheribre attained a foothold, although he seems mainly to have operated in Dakhleh Oasis. The museum's panel shows some variations from the panels bearing the king's names, but then variations exist even between the dated panels. If the panels are not all necessarily closely contemporary creations, the glass colors, the cell forms, and style of the figures are in general accord.