带有mithuna夫妇的两个箱形面板 - 美国大都会艺术博物馆展品查阅

品名（中）	带有mithuna夫妇的两个箱形面板
品名（英）	Two box panels with mithuna couples
入馆年号	2013年，2013.981a, b
策展部门	亚洲艺术（Asian Art）
创作者
创作年份	公元 1667 - 公元 1733
创作地区
分类	雕塑（Sculpture）
尺寸	5 11/16 × 8 英寸 (14.4 × 20.3 厘米)
介绍（中）	这些展板是印度南部纳亚卡王朝艺术的杰出范例，以赞助与宫殿和寺庙相关的艺术而闻名。象牙雕刻在这两个领域都是一种著名的艺术形式。这些小组的复杂组成和执行表明，与纳亚卡法院直接相关的大型象牙作坊。著名的象牙宗教图像保存在马杜赖的Sri Meenakshi Sundareshwarar寺庙博物馆和泰米尔纳德邦特里希的Srirangam寺庙博物馆。镶板盒是世俗艺术中最受欢迎的例子，它们大多以不完整的形式存在，单独的镶板与木制棺材分离。这两块面板与现代组装在一个盒子上的其他面板密切相关；这些相关的展板现在保存在波士顿美术博物馆和弗吉尼亚艺术博物馆。这是该组合的最后两块展板，代表着获得高质量Nayaka宫廷象牙雕刻的难得机会这两块嵌板的每一块都有一对浪漫的情侣（mithuna），他们被安置在17世纪晚期纳亚克宫殿建筑的典型尖顶拱门内。雕刻精美的人物群矗立在树叶和花朵的穿孔背景下，镂空作品与金色地面相映成趣。面板由一根薄壁柱隔开，并由一排玫瑰花结构成框架这些人物雕刻在低浮雕中，由重叠元素组成的复杂系统和他们身体的调制平面构成动画。这些人物造型独特，但他们的服装和珠宝可以很容易地与斯里兰加姆、坦乔尔、昆巴科南和马杜赖的石神庙中描绘的17世纪真人大小的捐赠者人物进行比较。这些寺庙都位于泰米尔纳德邦的Cauvery河流域，很可能是这些象牙作坊的生产中心。象牙板上的细柱和尖拱类似于1646年在马杜赖市建造的蒂鲁玛拉·纳亚克（1623-59年在位）宫殿独特的连拱廊庭院的建筑元素，以及他委托在Meenakshi Sundareshwarar寺庙东门外建造的被称为Pudu Mandapa的柱厅（Guy 1990）。
介绍（英）	These panels are outstanding examples of the arts of the Nayaka dynasty of southern India, known for their patronage of arts associated both with palaces and temples. Ivory carving was a celebrated art form in both realms. The sophistication of composition and execution of these panels point to major ivory workshops directly associated with the Nayaka courts. Notable examples of ivory religious imagery are preserved at Sri Meenakshi Sundareshwarar temple museum in Madurai and in the Srirangam temple Museum, Trichy, in Tamil Nadu. Paneled boxes, much favored examples of secular art, survive mostly in incomplete form with individual panels separated from the wooden casket. These two panels are closely related to others that were assembled in modern times, onto a single box; these related panels are now preserved in the Museum of Fine Arts Boston, and the Virginia Museum of Art. These are the last two panels from that ensemble, and represent a rare opportunity to secure high quality Nayaka court ivory carving. These two panels each feature an amorous couple (mithuna) set within a cusped arch typical of late 17th century Nayaka palace architecture. The delicately carved figural groups stand against a pierced backdrop of leaves and flowers, the openwork offset against a gold ground. The panels are separated by a thin pilaster and framed by a band of rosettes. Carved in low relief, the figures are animated by a complex system of overlapping elements and by the modulated planes of their bodies. The figures are stylistically distinct yet their garments and jewelry can readily be compared to 17th century life-size donor figures depicted in stone temples at Srirangam, Tanjore, Kumbakonam and Madurai. These temples are all located in the Cauvery River basin of Tamil Nadu, the likely production center for these ivory workshops. The thin column and cusped arches on the ivory panels are similar to the architectural elements of the distinctive arcaded courtyard of Tirumala Nayak’s (r. 1623-59) palace built in 1646 in the city of Madurai, and the pillared hall known as the Pudu Mandapa he commissioned outside the east gate of the Meenakshi Sundareshwarar temple (Guy 1990).