门板（jovo） - 美国大都会艺术博物馆展品查阅

品名（中）	门板（jovo）
品名（英）	Door board (jovo)
入馆年号	2017年，2017.681.2
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 1800 - 公元 1900
创作地区	新喀里多尼亚（New Caledonia）
分类	木质建筑（Wood-Architectural）
尺寸	高 62 × 宽 25 1/2 × 深 6 1/4 英寸 (157.5 × 64.8 × 15.9 厘米)
介绍（中）	像这对门板（jovo或tale）这样的建筑雕刻是新喀里多尼亚卡纳克人的主要表现形式之一。新喀里多尼亚的每一个长方形浮雕门柱都是由一块木板切割而成。上半部分描绘了一张拟人化的脸，很可能是某个特定祖先的代表，或是最近去世的酋长的肖像。每一张脸都符合该地区常见的风格模板，其特征是突出的宽鼻子，大的鼻孔凹陷，大的凸起的杏仁状眼睛靠近眉毛上方的山脊，突出的凸起的脸颊和张开的嘴唇，仿佛在呼气或说话。这两人还有一个独特的特点，那就是舌头伸得很长，这可能是演讲和演讲的参考，这是领导者需要的一项重要技能。一个月牙形的平板从嘴下方延伸，并以一定角度延伸，代表胡须——这是年龄和智慧的象征，也是领导者成功的独特特征。耳朵呈V形，并在脸的两侧刻上凸起的浮雕，每个前额上都有一条缺口带，图案简单，让人联想到头饰的纤维绳。在每个牌匾的顶部边缘，有两个圆形穿孔表示门柱最初被捆绑的位置，并用纤维绳捆绑在酋长家的建筑上。每个面板的下部都有几何图案——一系列松散的Z字形同心线，呈连续菱形散开，延伸到柱子的长度。有人认为，门板下部的雕刻图案最初可能是带有肚脐和肋骨的躯干。这一设计元素现在最常见的是一层织物或垫子的代表，这些织物或垫将包裹一具高级人员的尸体，以准备将其尸体悬挂在与他相关的仪式房屋屋顶的椽子中。每一块木板都有几层棕色和黑色颜料或油漆，用来强调某些设计元素，但主要颜色是明亮的蓝色，现在由于风化而分布不均匀。这种蓝色可能是在这件作品在其原始背景中用作礼仪性的门卫之后很久才添加的。这对门柱是19世纪这一类型的特别好的例子，很可能是在新喀里多尼亚群岛的格兰德特雷岛上成对制作的。独特的雕刻风格和突出舌头的面部处理表明，它们很可能来自该岛的Xârâcù和Ajië-arhö文化区卡纳克社会以前由世袭酋长统治，他们拥有政治和精神上的权威，并高度投资于保持与村庄祖先的生产联系。酋长的房子位于每个卡纳克村庄的中心，旨在体现其祖先权威的物理和形而上学方面。它们是巨大的圆形结构，有高耸的圆锥形屋顶，顶部有雕刻的装饰，可以从远处看到。酋长的房子的入口和内部用各种雕刻元素进行了高度装饰，其中包括精心雕刻的门板，这些门板位于主门口的两侧。门板被雕刻成独立的元件，在入口的每一侧绑在巨大的支柱上，并用穿过大洞的纤维连接；门板的底部直接嵌入地面。几乎所有幸存的卡纳克门板都描绘了人类形象，其头部短而宽，身体呈长方形，并带有几何图案。它们成对雕刻，描绘了最近去世的高级人物（可能是男性和女性），他们在死后获得了祖先地位。它们是在活人世界中显示祖先存在的一种有形手段，并被放置在酋长家的显眼位置，在那里，规范着活人和死人这两个互补但对立的领域之间互动的仪式规程。
介绍（英）	Architectural carvings such as this pair of door boards (jovo or tale) are one of the primary forms of expression of the Kanak people of New Caledonia. Each of these rectangular, relief-carved door posts from New Caledonia is cut from a single panel of wood. The upper portion depicts an anthropomorphic face, likely the representation of a particular ancestor or the portrait of a recently departed chief. Each of the faces conform to a stylistic template common to the region and feature a prominent broad-based nose with large hollowed nostrils, large raised almond-shaped eyes which are set close under the ridge of the brow above, prominent raised cheeks and a mouth with parted lips as if breathing out or speaking. This pair also have the distinctive feature of an extended tongue that may be a reference to speech and oratory, an important skill demanded of leaders. A crescent-shaped flat panel extends below the mouth and spans out at an angle to represent a beard - a signal of age and wisdom, also singular attributes appropriate to the success of a leader. The ears are rendered as V-shapes and carved in raised relief at either side of the face and a notched band crosses each forehead with a simple pattern that evokes the fiber cord which headmen were accustomed to wear as an element of their coiffure. At the top edge of each plaque, two circular perforations indicate where the door post would originally have been lashed and attached with fiber cord bindings to the architecture of the chief’s house. The lower portion of each panel features geometric patterning - serial, loosely zig-zagging concentric lines that fan out in serial lozenge shapes that extend down the length of the post. It has been suggested that carved designs on the lower sections of door boards may originally have been a representation of the torso with navel and ribs. This design element is now most commonly identified as a representation of the layers of textiles or mats which would have wrapped a high-ranking individual’s corpse in preparation for the suspension of his body in the rafters of the roof of the ceremonial house with which he was associated. Each of these boards has several layers of brown and black pigment or paint which has been used to accentuate certain design elements but the dominant color is a brilliant blue which is now unevenly distributed due to weathering. This blue color could have been added long after the use of the piece in its original context as a ceremonial house guard. This pair of door posts are particularly fine nineteenth century examples of the genre and were probably produced as a pair in the main island of Grande Terre in the archipelago known as New Caledonia. The distinctive carving style and treatment of the face with protruding tongue identify them as likely coming from the Xârâcùù and Ajië-arhö cultural areas of the island. Kanak societies were formerly ruled by hereditary chiefs who held both political and spiritual authority and were highly invested in maintaining productive links with the ancestral forbears of the village. The house of the chief was located at the center of every Kanak village and was designed to embody both the physical and metaphysical aspects of his ancestral authority. They were large circular structures with towering conical roofs, crowned with carved finials that were visible from afar. The entrances and interiors of chief’s houses were highly embellished with a variety of sculptural elements that included elaborately carved door boards, like these, that flanked the principal doorway. Carved as separate elements, door boards were lashed at each side of the entrance to the massive supporting posts and attached with lengths of fiber that passed through large holes; the bases of door boards were embedded directly into the ground. Almost all surviving Kanak door boards depict human images with short, broad heads and rectangular bodies adorned with geometric designs. Carved in pairs, they portray recently deceased high-ranking individuals (which could be male and female) who on death had gained ancestor status. They were a tangible means of manifesting the presence of ancestors amongst the world of the living and were placed prominently in the chief’s house where the ritual protocols that governed interaction between the two complementary, yet opposed, realms of the living and the dead take place.