流程交叉 - 美国大都会艺术博物馆展品查阅

品名（中）	流程交叉
品名（英）	Processional Cross
入馆年号	2015年，2015.254
策展部门	迈克尔·洛克菲勒之翼（The Michael C. Rockefeller Wing）
创作者
创作年份	公元 1400 - 公元 1450
创作地区	埃塞俄比亚（Ethiopia）
分类	金属制品青铜（Metalwork-Bronze）
尺寸	高 14 × 宽 9 3/4 × 深 1 1/16 英寸 (35.6 × 24.8 × 2.7 厘米)
介绍（中）	这件作品是埃塞俄比亚开发的15世纪早期流行的铸铜合金镂空游行十字架的一个特殊例子 - 一种被地区艺术家无休止地重塑的艺术形式。在这个例子中，装饰品是自由工作的，而形式是高度对称的。从基督教被采纳以来 - 大约在公元330年 - 十字架不仅作为礼仪物品在该地区的教堂和修道院中无处不在，而且在大众的奉献和日常生活中也无处不在。作为辟邪的物品和整个社区的精神象征，神职人员在游行和礼仪仪式中将大型金属游行十字架抬在杆子上。埃塞俄比亚君主向重要的修道院赠送游行十字架，这些修道院的神职人员在祈祷中记住了他们。在埃塞俄比亚，十字架被视为胜利的象征，而不是死亡的象征。因此，它不仅是受难的象征，而且是上帝为人类提供健康并重建精神和身体生命的工具。这些与这一开创性主题的重要性有关的想法通过这部作品以区域白话风格特别精美地表达出来。有人认为，贯穿这个例子整个设计的蜿蜒的蛇状线条可能与民数记（21：4-9）中摩西厚颜无耻的蛇相关的符号和无限有关。
介绍（英）	This work is an exceptional example of a popular early 15th century cast copper alloy openwork processional cross developed in Ethiopia -- an art form that has been endlessly reinvented by regional artists. In this example, the ornament is freely worked, while the form is highly symmetrical. From the time of the adoption of Christianity -- around 330 A.D. -- crosses have been omnipresent not only as liturgical objects in the region's churches and monasteries, but also in popular devotion and everyday life. Functioning as apotropaic objects to ward off evil spirits and as spiritual emblem of the entire community, members of the clergy carry the large-scale metal processional crosses on poles during processions and liturgical ceremonies. Ethiopian monarchs made gifts of processional crosses to important monasteries whose clergy remembered them in their prayers. In Ethiopia the Cross is perceived of as an emblem of triumph rather than of death. As such it is not only a symbol of the Passion but an instrument by which God affords health to mankind and reestablishes the life of the spirit as well as that of the body. These ideas relating to the significance of this seminal motif are especially beautifully expressed through this work in a regional vernacular style. It has been suggested that the sinuous, serpent-like line that runs through the entire design of this example might relate to symbols associated with the brazen serpent of Moses in the Book of Numbers (21:4-9) and to infinity.