头盔面罩 - 美国大都会艺术博物馆展品查阅

品名（中）	头盔面罩
品名（英）	Helmet mask
入馆年号	2018年，2018.925.6
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 1700 - 公元 1730
创作地区	刚果民主共和国（Democratic Republic of the Congo）
分类	木雕（Wood-Sculpture）
尺寸	高 20 英寸 (50.8 厘米)
介绍（中）	这个气势恢宏的木制头盔面具代表了一位男性权贵的头像。负责这一强大创作的雕刻大师尝试了头部体积的表达，将其向后倾斜45°。面部特征和头发定义中的每一个元素都强调了这种动态方法。在隆起的前额下，狭窄的眼睛倾斜着，伸向太阳穴。突出的鼻尖略向下，鼻孔张开，轮廓清晰。箭头形状的嘴的角度向上伸展。因此，嘴巴与胡须的边缘平行，胡须定义了口罩的下端。宽阔的梯形前额由一种独特的发型构成，这种发型向后突出，并向太阳穴倾斜。口罩的表面有着强烈的纹理，从太阳穴和前额上的瘢痕疙瘩，到眼睛下方、胡须沿线、头发和前额之间的接缝处、头顶上一排排大小不等的洞，以及鼻子上的金属条。仔细检查发现整个表面上有几层颜料，X射线证明表面下存在嵌入的金属点。这些金属点必须事先固定好金属片或织物，以及在口罩表面拉伸的珠子。所有这些细节都表明了口罩的年代和广泛多样的用途，其悠久的历史嵌入了其分层的表面现在它完全被黑色颜料覆盖，可以与一种被称为Bongo的面具联系在一起。专家大卫·宾克利（David Binkley）描述了邦戈面具的形状多种多样，但其独特之处在于涂成了浓郁的黑色。邦戈面具出现在入会仪式和葬礼上。为了掩盖舞者的身份，木制头盔面具会配上一条由新鲜切割的拉菲棕榈叶制成的裙子和衣领。蒙面表演中的不稳定和不可预测的动作暗示了未开垦的森林世界，那里有许多潜在的危险，对缺乏经验的人来说。虽然库巴艺术家几乎没有创作出独立的具象雕塑，但他们强调了两种独特的艺术形式：一种是为个人使用的无与伦比的装饰艺术，作为成功和成就的标志，另一种是与男性社会直接相关的极其丰富的面具。这些社会的主要目的是将青年融入社会的核心价值观，并崇敬社区已故成员。
介绍（英）	This imposing helmet mask in wood represents the head of a male dignitary. The master carver responsible for this powerful creation experimented with the expression of the head’s volume, angling it backwards at a 45° angle. Every element in the definition of the facial features and hair emphasize this dynamic approach. Deeply set under a bulging forehead, the narrow eyes are slanted and stretched towards the temples. The tip of the prominent nose points slightly downwards and the nostrils are flared and precisely defined. The angles of the arrow-shaped mouth stretch upwards. As a result, the mouth is parallel to the edge of the beard that defines the lower extremity of the mask. The wide trapezoid forehead is framed by a distinctive coiffure, which both projects backwards and angles back sharply towards the temples. The surface of the mask is intensely textured, from representations of keloids on the temples and forehead, to rows of holes of varying dimensions under the eyes, along the beard, at the jointure between the hair and forehead, and at the top of the head, as well as metal strips along the nose. Close examination reveals several layers of pigments over the entire surface and X-rays attest to the presence of metal points embedded under the surface. These metal points must have previously held sheets of metal or fabric and beads stretched over the mask’s surface. All these details point to the mask’s age and extensive and varied use, its long history embedded into its layered surface. Now covered entirely in black pigment, it can be associated to a genre of mask known as Bongo. Specialist David Binkley has described how Bongo masks take a variety of shapes but are distinctive for being painted an intense black. Bongo masks appear during initiation rites and at funerals. Concealing a dancer’s identity, the wooden helmet mask would have been accompanied by a skirt and collar made from freshly cut raffia palm leaves. The erratic and unpredictable movements during the masked performance suggest the untamed forest world where many potential dangers lie for the inexperienced. While Kuba artists produced little free-standing figurative sculpture, they placed an emphasis on two distinctive art forms: an unparalleled variety of decorative arts made for personal use as indicators of success and achievement, and an extremely rich range of masks directly associated with men’s societies. These societies’ primary purpose are the enculturation of youth into the core values of society and the veneration of deceased members of a community.