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美国纽约大都会艺术博物馆展品查阅
美国纽约大都会艺术博物馆展品查阅
美国大都会艺术博物馆中的24万件展品,图片展示以及中文和英文双语介绍(中文翻译仅供参考)
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品名(中)棋盘格Tunic
品名(英)Checkerboard Tunic
入馆年号2017年,2017.674
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 1500 - 公元 1599
创作地区阿根廷、秘鲁或玻利维亚(Argentina, Peru, or Bolivia)
分类纺织品服装(Textiles-Costumes)
尺寸高 34 1/4 x 宽 30 1/8 英寸 (87 x 76.5 厘米)
介绍(中)这件精美的挂毯编织服装的正面和背面、内部和外部都采用了相同的黑白棋盘设计,带有红色V形轭和精心刺绣的成品边缘。在印加帝国,男人们把这种衣服套在围腰上,是身份的主要标志之一。1532年,征服者弗朗西斯科·皮萨罗的秘书弗朗西斯科·德·赫雷斯首次提到这种束腰外衣。赫雷斯描述了印加皇帝阿塔瓦尔帕和皮萨罗的一小群人在秘鲁卡哈马卡的决定性会面,并指出印加军队的第一团穿着棋盘制服

布在印加文化中具有极其重要的意义:印加人的政治、军事、社会或宗教活动中,如果没有交换、赠送、焚烧或牺牲纺织品,就不完整。精美的织锦束腰外衣会被授予在战场上表现突出的战士,或者印加统治者在扩张其庞大帝国的战役中作为外交礼物赠送。挂毯束腰外衣的所有权和使用将由印加国家严格控制,只有那些被授予此类礼物的人才被允许佩戴。印加人还严格控制着挂毯束腰外衣的生产,现存的全尺寸束腰外衣在尺寸上几乎没有变化

印加挂毯束腰外衣被编织成一块带有单个互锁连接的单板,颈部缝隙由编织完成后移除的临时纬纱封闭。一旦从织机上切下完成的编织物,所有的接缝和布边都被精细的双面刺绣完全覆盖。接缝被一系列不同宽度的彩色带子精确地重复掩盖。沿着底部,就在刺绣边缘的上方,用类似颜色的纱线形成了一条之字形线条。这条锯齿线的确切含义尚不清楚,但它的重要性如此之大,以至于它被包括在最早的印加帝国插图手稿之一(Guaman Poma de Ayala 1615-1615)中对皇室束腰外衣的描绘中。
介绍(英)This fine tapestry-woven garment features identical black-and-white checkerboard designs on front and back, inside and out, with a red, V-shaped yoke and meticulously embroidered finished edges. Worn by men over a loincloth, such garments were one of the primary markers of identity in the Inca Empire. This type of tunic was first mentioned in 1532 by Francisco de Jerez, secretary to the conquistador Francisco Pizarro. Jerez described the fateful meeting between Atahualpa, the Inca emperor, and Pizarro's small band of men in Cajamarca, Peru, noting that the first regiment of the Inca army wore checkerboard livery.

Cloth was of profound importance in Inca culture: no political, military, social, or religious event among the Inca was complete without textiles being exchanged or gifted, burned or sacrificed. Fine tapestry­ woven tunics would have been bestowed on warriors who distinguished themselves on the battlefield, or given as diplomatic gifts by Inca rulers in their campaigns to expand their vast empire. Ownership and use of tapestry tunics would have been closely controlled by the Inca state, and only those upon whom such gifts were bestowed were allowed to wear them. The Inca also exerted tight control over the production of tapestry tunics, and surviving full-size examples display remarkably little variation in size.

Inca tapestry tunics were woven as a single panel with single-interlocking joins, with the neck slit held closed by a temporary weft yarn that was removed after the weaving was complete. Once the finished weaving was cut from the loom, all seams and selvage edges were completely covered with fine double­ faced embroidery. The seams were concealed with a precisely repeated series of multicolored bands of different widths. Along the bottom, just above that embroidered edge, a zigzag line was created with similarly colored yarns. The precise meaning of this zigzag line is unknown, but it was of such importance that it was included in depictions of royal tunics in one of the earliest illustrated manuscripts concerning the Inca Empire (Guaman Poma de Ayala 1615-1615).
  大都会艺术博物馆,英文 Metropolitan Museum of Art,是美国最大的艺术博物馆,世界著名博物馆,位于美国纽约第五大道的82号大街。
  大都会博物馆回顾了人类自身的文明史的发展,与中国北京的故宫、英国伦敦的大英博物馆、法国巴黎的卢浮宫、俄罗斯圣彼得堡的艾尔米塔什博物馆并称为世界五大博物馆。