仪式菜肴（传统） - 美国大都会艺术博物馆展品查阅

品名（中）	仪式菜肴（传统）
品名（英）	Ritual dish (daveniyaqona)
入馆年号	2018年，2018.433
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 1840
创作地区	斐济（Fiji）
分类	木制容器（Wood-Vessels）
尺寸	高 12 3/4 × 宽 7 3/4 × 深 2 5/8 英寸 (32.4 × 19.7 × 6.7 厘米)
介绍（中）	这个非凡的雕塑容器在设计上格外优雅，在形式上的创造性方面也独具匠心。它不仅仅是一件装饰艺术品;它是一种容器，被认为是与祖先神灵接触的工具。在对形式的彻底重新诠释中，创造它的雕刻大师将强大的相貌的大胆抽象与容器的精致轮廓融合在一起。尽管规模亲密，但若隐若现的祖先形象散发着强大的存在，体现了在其仪式使用过程中激活的深层关系。神圣的vesi木被用于高级仪式物品，并成为斐济祭司仪式用具的一部分，他们被赋予代表其酋长与神灵交流的危险职责。这种比例精致的器皿被用来准备和供应礼拜或盛放少量的神圣油。由一块木头巧妙地雕刻而成，浅体积经过精心挖空以容纳这些液体。以液体形式吸收神圣的yaqona植物，使祖先的灵魂能够物理进入牧师的身体。油被用来膏抹身体，为涉及神占有牧师的动画和高度身体的仪式做准备。人物驼背的肩膀，沉重的四肢和明显的眉毛营造出适合这些祖先祈求的庄严的强度。光滑到显着的完成，考虑到雕刻它的木材的硬度，盘子的浅曲率是显着的。一个精细转动的，轻轻斜面的嘴唇贯穿人物身体的长度，背面的两个优雅支撑允许一点稳定性，确保容器在放置在牧师灵屋不平坦的土面上时不会溢出其珍贵的内容。当直立放置时，这个人物呈现出非常强大的存在。空洞的眼睛直视前方，嘴唇轻轻分开，仿佛处于恍惚状态，呼应了最初使用的背景。人物的手臂松散地垂在两侧，手掌伸出，仿佛在恳求，这是对它所设计仪式的庄严的微妙提及。浅血管的平面质量与大胆的体积头和肉体存在相结合，营造出一种正式的张力，既充满活力又有力。在祖先人物集中的眉毛上方是一个简单的凸起的脊，可能参考了斐济牧师佩戴的红色和绿色羽毛头带。它们由编织的纤维底座组成，鹦鹉鲜艳多彩的红色和绿色羽毛附着在底座上。这些羽毛在仪式中激活了与已故祖先和神灵的联系。玛雅·努库， 2020 年伊芙琳·霍尔和约翰·弗里德海洋艺术副策展人出版了努库，马亚。ATEA：波利尼西亚的自然与神性。大都会艺术博物馆公报，冬季，2019 年，第 17-18 页。纽约：大都会艺术博物馆
介绍（英）	This remarkable sculptural vessel is exceptionally elegant in its design and ingenious for its formal inventiveness. It is not simply a work of decorative art; it is a vessel conceived as a vehicle to elicit contact with ancestral gods. In a radical reinterpretation of form, the master carver who created it has fused the bold abstraction of a powerful physiognomy with the delicate contours of a receptacle. Despite its intimate scale, the looming ancestral figure exudes a powerful presence embodying the deep lineage of relations that were activated during its ritual use. Sacred vesi wood was used for high-status ceremonial objects and formed part of the ritual paraphernalia of Fijian priests who were charged with the dangerous duty of entering into communication with gods and spirits on behalf of their chiefs. Delicately proportioned vessels of this kind were used to prepare and serve libations or to hold small amounts of sacred oil. Skillfully carved from a single block of wood, the shallow volume has been carefully hollowed to accommodate these liquids. The imbibing of the sacred yaqona plant in liquid form allowed the ancestor spirit to physically enter the body of the priest. Oil was used to anoint the body in preparation for the animated and highly physical ritual that involved the god taking possession of the priest. The figure’s hunched shoulders, heavy limbs and pronounced brow create an intensity appropriate to the solemnity of these ancestral invocations. Smoothed to a remarkable finish, the shallow curvature of the dish is remarkable given the hardness of the wood from which it is carved. A finely turned, gently beveled lip runs the length of the figure’s body and two elegant supports on the reverse allow for a modicum of stability ensuring that the vessel would not spill its precious contents when placed on the uneven earthen surface of the priest’s spirit house. When placed upright, the figure assumes an extraordinarily powerful presence. Hollow eyes gaze directly ahead, lips gently parted, as if in a trance-like state echoing the context of its original use. The figure’s arms drop loosely down at each side and feature delicate hands with palms turned out as if in supplication, a nuanced reference to the solemnity of the rituals for which it was designed. The flat planar quality of the shallow vessel coupled with the bold volumetric head and corporeal presence create a formal tension at once dynamic and powerful. Above the concentrated brow of the ancestral figure is a simple raised ridge, likely a reference to the red and green feather headband worn by Fijian priests. These were composed of a woven fiber base to which the bright and colorful red and green feathers of the lorikeet attached. These feathers activated the connection with the spirits of deceased ancestors and gods during ritual. Maia Nuku, 2020 Evelyn A. J. Hall and John A. Friede Associate Curator for Oceanic Art Published Nuku, Maia. ATEA: Nature and Divinity in Polynesia. The Metropolitan Museum of Art Bulletin, Winter, 2019, pp. 17-18. New York: The Metropolitan Museum of Art