鲨鱼遗骸 - 美国大都会艺术博物馆展品查阅

品名（中）	鲨鱼遗骸
品名（英）	Shark Reliquary
入馆年号	2017年，2017.734a
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 1895 - 公元 1905
创作地区	所罗门群岛（Solomon Islands）
分类	木雕（Wood-Sculpture）
尺寸	高 10 3/4 × 深 9 × 长 67 英寸 (27.3 × 22.9 × 170.2 厘米)
介绍（中）	这是一个极为罕见的所罗门群岛鲨鱼圣物箱，由一块木头雕刻而成，中心有一个中空的空腔，用来保护一位已故酋长和最近祖先的头骨。这些令人印象深刻的圣物箱被放置在船屋的椽子上，船屋是存放独木舟的地方，人们聚集在这里讨论重要的社区事务。像这样的遗物主要与鲨鱼有关，但也包含了金枪鱼科鲣鱼（Sarda Chilensis）的特征。这种鲨鱼和鱼类的杂交体细长，头部逐渐变细，变成张开嘴的长吻。口腔中镶嵌的贝壳碎片现在已经脱落，但可能代表牙齿。前一对鳍断裂，两个背鳍中的一个也受损。十二个较小的三角形羽管沿着背部的长度排列，六个在身体下面。这些特点是镶嵌在不透明珍珠壳的三角形部分。圆锥壳的新月形横截面装饰着身体，并排列在分叉尾鳍（或尾部）的边界，突出了其大胆的弯曲。深色木材上涂有白色的Z字形装饰带，包裹在尾部附近的车身上，以对比色打造出引人注目的设计在所罗门群岛东部，鲨鱼占据着特权地位。鲨鱼被尊为守护者和捕食者，与精神世界密切相关，尤其是与人类从活人世界向祖先居住的逝者世界的过渡密切相关。这个关于鲨鱼的典故部分是基于一个重要的神话，该神话讲述了卡列马努阿的故事　变成了鲨鱼。据说卡列马努阿咬了他的兄弟卡卡福的尸体，因为他目睹了卡卡福转变为一位强大的神，并随后从生活世界进入了灵魂和祖先的领域，即塔普（神圣或禁忌，禁止）。这个圣骨箱的形状和形式代表了这条神话中的鲨鱼，它保护着这件重要的文物不受最近去世的酋长的伤害，酋长是一个高级人物，在达到自己的葬礼周期的最后一级时，被认为化身为鲨鱼这是一件杰出的艺术作品，以纪念大都会艺术博物馆前馆长托马斯·坎贝尔作为该机构领导人的任期。在太平洋地区，一位领导人与一条鲨鱼联系在一起以承认他们的主要力量并不罕见，这确实是一种高度赞扬。
介绍（英）	This is an extremely rare Solomon Islands shark reliquary carved from a single piece of wood with a hollowed cavity at its center which was intended as a reliquary to safeguard the skull of a deceased chief and recent ancestor. These impressive reliquaries were placed high up in the rafters of the boathouse where the canoes were kept and where men gathered to discuss important community business. Reliquaries such as these are primarily associated with sharks but also incorporate features of the bonito fish (Sarda Chilensis) of the tuna family. The body of this shark-fish hybrid is long and slender, tapering at the head into a long snout with an open mouth. Small fragments of shell inlay in the mouth have now broken off but would have represented teeth. The front pair of fins have broken off and one of the two dorsal fins is also damaged. A series of twelve smaller triangular pinnules run along the length of the back and six underneath the body. These feature inlay of triangular sections of an opaque nacreous shell. Further crescent-shaped cross-sections of a conus shell decorate the body and line the border of the bifurcated caudal fin (or tail), highlighting its bold curvature. A band of zig-zag decoration, painted in white onto the dark wood, wraps around the body near the tail creating a striking design in contrasting color. In the eastern Solomon Islands, the shark occupies a privileged position. Held in high esteem and revered as both guardian and predator, sharks are closely associated with the spirit world and, more particularly, with the transition of man from the world of the living to the world of the departed which is inhabited by ancestors. This allusion to the shark is partly based on an important myth which recounts the story of Karemanua, a man who　metamorphosed into a shark. Karemanua is said to have bitten the body of his brother, Kakafu, for having witnessed his transformation into a powerful god and his subsequent passage from the living world to the realm of spirits and ancestors which was tapu (sacred or taboo, forbidden). The shape and form of this reliquary represents this mythical shark who safeguards this important relic from the recently deceased chief, a high-ranking individual who, on reaching the final grade of his own funerary cycle, is believed to incarnate into a shark. This is a remarkable work of art gifted in honor of Thomas Campbell, former Director of the Metropolitan Museum of Art to mark his tenure as leader of the institution. In Pacific terms the association of a leader with a shark in acknowledgement of their chiefly prowess is not uncommon and is high compliment indeed.