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美国纽约大都会艺术博物馆展品查阅
美国纽约大都会艺术博物馆展品查阅
美国大都会艺术博物馆中的24万件展品,图片展示以及中文和英文双语介绍(中文翻译仅供参考)
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品名(中)
品名(英)Stand
入馆年号1904年,04.6.4
策展部门欧洲雕塑和装饰艺术European Sculpture and Decorative Arts
创作者Sèvres Manufactory【1740 至 现在】【法国人】
创作年份公元 1772 - 公元 1790
创作地区
分类陶瓷-瓷器(Ceramics-Porcelain)
尺寸整体 (confirmed): 3 × 24 1/4 × 18 1/2 英寸 (7.6 × 61.6 × 47 厘米)
介绍(中)十八世纪法国贵族家庭的用餐礼仪要求餐桌上摆放一系列以装饰图案排列的餐具。食客们从近在咫尺的盘子和器皿中自顾自弃,仆人为每道菜重新摆好桌子。这种用餐方式,其中课程的所有组成部分都陈列在桌子上,而不是由仆人呈现给食客,被称为法国服务(法国方式的服务),因为这种习俗是在十七世纪的法国编纂的。它成为欧洲时尚餐饮的主要模式,直到十九世纪初,它被 à la Russe(俄罗斯方式的服务)所取代,在这种服务中,客人不再为自己服务,而是由仆人服务。

晚餐第一道菜的一个重要组成部分通常是炖菜或汤,而供应它们的图伦斯是餐桌布置最突出的特征。这个瓷器和架子的宏伟规模和精致的装饰反映了它不仅作为盛放餐点重要元素的容器所发挥的作用,而且还在餐桌上提供菜肴装饰性的焦点方面。对于十八世纪宫廷或贵族家庭中特别重要的晚餐,制作了图纸以展示每道菜在餐桌上供应菜肴的适当安排;这些图纸表明,各种形状的菜肴通常围绕图伦对称分组,这决定了桌子的位置和布局。

十八世纪下半叶宫廷圈子中使用的图伦斯要么是银,要么是瓷器,在这两种介质中,图伦斯都以两种基本形状生产。圆形图伦在法国被称为锅à油,以西班牙炖菜olla podrida命名,而椭圆形图伦,如本例,被称为terrine。Pots à oille用于提供丰富的肉类炖菜或炖肉,而terrines旨在盛装汤,尽管这些区别可能并不总是严格遵守。在 1750 年代和 1760 年代,塞夫尔生产的晚餐服务通常包括一锅油菜和两个露台,但到 1770 年代,一项大型服务通常包含两个圆形和两个椭圆形图伦。[1] 该工厂的销售记录表明,通常价值相同的锅和茶盆通常是晚餐服务中最昂贵的组成部分。[2]

虽然油锅和土锅通常都是在塞夫尔生产的,作为晚餐服务的一部分,但它们也是作为独立的物品制作的,显然是为了与不匹配的餐具一起使用。这种特殊的 terrine 模型在工厂被称为 terrine épis de blé,因为低浮雕的小麦捆有一个突出的图案,装饰着 terrine 及其展台。[3]连同其配套的油壶,它是塞夫尔制造的最大和装饰最丰富的图伦之一,很少生产圆形或椭圆形模型。工厂档案表明,这种设计的所有油壶和陶器都是独立于晚餐服务制作的,并且它们可能旨在与镀金银而不是瓷器制成的器皿一起使用。根据工厂销售记录,塞夫尔(Sèvres)制造的所有épis de blé设计图都是作为礼物赠送给外国君主的,或者是被法国国王路易十六(1754-1793)收购的。虽然镀金银通常是皇家晚宴服务的首选媒介,但瓷器在 18 世纪下半叶变得越来越流行,这两种媒介可能一起使用,因为塞夫尔 terrine 上的大量镀金会使其在视觉上与镀金银餐具兼容。

这个模型最早的图伦是路易十六在 1777 年送给他的姐夫神圣罗马帝国皇帝约瑟夫二世(1741-1790 年)的两个油锅和两个露台。约瑟夫二世当年前往法国探望他的妹妹玛丽-安托瓦内特(Marie-Antoinette,1755-1793 年),他收到的外交礼物之一是广泛的绿色塞夫尔晚餐服务,以及工厂的其他各种作品,包括四个 épis de blé tureens,每个形状两个。这两罐油和两个水桶各价值900里弗尔[4],是工厂生产的最昂贵的图伦之一。

这种图伦模型一定得到了路易十六的青睐,因为君主在 1777 年购买了四罐 à oille épis de blé。[5]与约瑟夫二世获得的两种不同形状的图伦相反,路易十六获得的四种是圆形的,正如使用"pots à oille"一词所表明的那样。这种图伦模型最后一次出现在工厂销售记录中,与路易十六于 1784 年送给瑞典国王古斯塔夫三世(1746-1792 年)的礼物有关。与约瑟夫二世的情况一样,瑞典君主获得了大型塞夫尔晚餐服务,以及许多其他与服务本身无关的塞夫尔瓷器。在额外的礼物中,有两个椭圆形的图伦("terrines à Epis de Bled"[原文如此]),每个也价值900里弗。[6]虽然这些鼬在1784年被赠送给古斯塔夫三世,但大卫·彼得斯(David Peters)认为它们可能与上述图伦斯同时生产,[7]因此是从塞夫尔工厂未售出的库存中挑选出来的,以增加对瑞典国王的礼物。

博物馆的领地可能是1784年送往瑞典的两个之一。送给约瑟夫二世的礼物中的两个露台和一个油壶在维也纳的皇宫(称为霍夫堡宫)中幸存下来;第二个锅在 19 世纪遭到破坏。[8]除非在记录路易十六在1777年购买时犯了错误,否则博物馆的露台不能被确定为法国君主所有,因为他的所有都是圆形模型。据了解,送给古斯塔夫三世的两个特里尔都没有在瑞典幸存下来。现在在哥本哈根丹麦设计博物馆[9]的一个露台可能是其中之一,但这无法证明,它被更换的盖子和支架使对其历史的理解复杂化。1981 年在哥本哈根的拍卖会上提供了这种具有类似装饰但没有展台的模型的露台;[10]它也可能是瑞典国王拥有的那些之一。然而,另外两个非常相似的水鲛分别在1911年[11]和1971年[12]售出,每个也都有瑞典皇室的血统。这种模型的装饰似乎

比销售记录中记录的要多,所有这些露台都有类似的装饰,包括农具奖杯和郁郁葱葱的花簇,[13]因此博物馆的图伦历史可能永远不会为人所知。圆形和椭圆形的餐具组是塞夫尔生产的最令人印象深刻的餐具之一,不仅在规模方面,而且在彩绘装饰的质量和镀金的广泛使用方面,所有这些都使它们适合在皇家餐桌上使用。

脚注
芒格,杰弗里。大都会艺术博物馆的欧洲瓷器。纽约:大都会艺术博物馆,2018年。
1 萨维尔,1988年,第2卷,第738页。
2 例如,见Peters 2005年,第2卷,第283页,其中列出了向路易十五提供服务的部件及其价格(见本卷第58项)。带有mortiers(迫击炮)的潘趣酒碗也可能与带有支架的图伦一样昂贵。上述服务中的冲床碗和研钵的总价值为1,000里弗,超过了分配给两个椭圆形图伦和支架中每个的800里弗。
3 该模型的设计归功于让-克洛德·托马斯·杜普莱西斯(法国,1730-1783);见布鲁内特和普雷奥,1978年,第196页,图下。217. 另见怀特黑德,1999年,第2、5-6页。
4 档案馆,塞夫尔塞拉米克城,Vy 6,第 207v 页。参见Peters 2005,第3卷,第561-63页,全面了解这项服务的历史。
5 档案馆,塞夫尔塞拉米克城,Vy 7,第 19v 页。由于四个价值900里弗的罐子,épis de blè没有与其他餐具一起列出,因此它们似乎是作为独立作品出售的。
6 彼得斯,2005年,第3卷,第707-12页。
7 大卫·彼得斯致杰弗里·芒格,2003年4月17日的信,策展文件,欧洲雕塑和装饰艺术部,大都会艺术博物馆,纽约。
8 伊尔塞比尔·巴尔塔,玛丽-安托瓦内特,2008年,第332页。
9 丹麦设计博物馆,哥本哈根(162)。
10 Arne Bruun Rasmussen 1981年,第269号(无展台)。我感谢大卫·彼得斯提请我注意这一提法。11
巴黎德鲁奥酒店,销售猫,1911 年 6 月 8 日,第 2 期(无支架)。
12 帕克-伯内特画廊,纽约,出售猫。(在德克萨斯州圣安东尼奥市木兰山举行的拍卖会),1971 年 4 月 28 日至 29 日,第 162 号(带配套展台)。我感谢大卫·彼得斯也提请我注意这一点。13 1911 年和 1981 年拍卖会中提供的图
伦和 1971 年拍卖会中提供的带支架的图伦在随附的目录中以黑白形式说明,仅显示一张照片。根据这些照片,它们似乎是三种不同的图雷,但作者没有见过其中任何一张,也没有见过现在在哥本哈根的那张,因此作者不能肯定地说出这一点。
介绍(英)Dining etiquette in eighteenth-century French aristocratic households required the table to be set with an array of serving dishes arranged in a decorative pattern. The diners helped themselves from the dishes and vessels close at hand, and servants reset the table for each course. This style of dining, in which all the components of a course were displayed on the table rather than presented by servants to the diners, was known as the service à la française (service in the French manner), as the custom was codified in France in the seventeenth century. It became the dominant mode of fashionable dining in Europe until the early nineteenth century, when it was supplanted by the service à la Russe (service in the Russian manner), in which the guests no longer served themselves but rather were waited upon by servants.

An important component of the first course of a dinner was commonly a stew or a soup, and the tureens in which they were served were the most prominent feature of the table setting. The imposing scale and elaborate decoration of this porcelain tureen and stand reflect the role it played not only as a vessel to contain an important element of the meal but also in terms of providing a focal point in the decorative placement of dishes on the table. For especially important dinners at court or in aristocratic households in the eighteenth century, drawings were made to demonstrate the proper arrangement of serving dishes on the table for each course; these drawings indicate serving dishes of various shapes were commonly grouped symmetrically around the tureen, which dictated placement and the layout of the table.

The tureens used in court circles during the second half of the eighteenth century would have been made either of silver or of porcelain, and in both media tureens were produced in two basic shapes. A round tureen was known in France as a pot à oille, named after a Spanish stew called olla podrida, while an oval tureen, such as the present example, was termed a terrine. Pots à oille were used for serving rich, meat- based stews or ragouts, whereas terrines were intended to contain soup, though these distinctions probably were not always rigidly observed. In the 1750s and 1760s the dinner services produced at Sèvres commonly included one pot à oille and two terrines, but by the 1770s, a large service frequently contained two round and two oval tureens.[1] The factory’s sales records indicate that pots à oille and terrines, often valued at the same amount, were usually the most expensive components of a dinner service.[2]

While both pots à oille and terrines were customarily produced at Sèvres as parts of dinner services, they were also made as independent objects, clearly intended for use with nonmatching dinner wares. This particular model of terrine was known at the factory as terrine épis de blé, due to a prominent motif of sheaves of wheat in low relief that decorate both the terrine and its stand.[3] Along with its matching pot à oille, it was one of the largest and most richly decorated of the tureens made at Sèvres, and very few of either the round or oval models were produced. The factory archives indicate that all of the pots à oille and terrines of this design were made independent of a dinner service, and it is possible that they were intended to be used with wares made of gilt silver rather than of porcelain. According to the factory sales records, all of the tureens of the épis de blé design made at Sèvres were either presented as gifts to foreign monarchs or were acquired by Louis XVI (1754–1793), king of France. While gilt silver was frequently the preferred medium for royal dinner services, porcelain became increasingly popular during the second half of the eighteenth century, and the two media may have been used together, as the extensive gilding on the Sèvres terrine would have made it visually compatible with gilt-silver tablewares.

The earliest of the tureens of this model are the two pots à oille and two terrines given by Louis XVI in 1777 to his brother-in-law Joseph II (1741–1790), the Holy Roman Emperor. Joseph II had traveled to France that year to visit his sister Marie-Antoinette (1755–1793), and one of the diplomatic gifts he received was an extensive green- ground Sèvres dinner service, as well as a variety of other pieces from the factory, including the four épis de blé tureens, two of each shape. The two pots à oille and two terrines were each valued at 900 livres,[4] making them among the most expensive tureens produced at the factory.

This model of tureen must have found favor with Louis XVI, as four pots à oille épis de blé were purchased by the monarch in 1777.[5] In contrast to the two different shapes of tureen given to Joseph II, the four acquired by Louis XVI were round, as indicated by the use of the term pots à oille. The last appearance of this model of tureen in the factory sales records occurs in connection with a gift made by Louis XVI to Gustav III (1746–1792), king of Sweden, in 1784. As in the case of Joseph II, the Swedish monarch was presented with a large Sèvres dinner service, as well as numerous other pieces of Sèvres porcelain unrelated to the service itself. Among the additional gifts were two oval tureens (“terrines à Epis de Bled” [sic]), also valued at 900 livres each.[6] While the terrines were presented to Gustav III in 1784, it has been suggested by David Peters that they may have been produced around the same time as the tureens cited above,[7] and thus were selected from unsold stock at the Sèvres factory in order to augment the gift to the Swedish king.

It is possible that the Museum’s terrine may have been one of the two sent to Sweden in 1784. Two terrines and one pot à oille from the gift to Joseph II survive at the imperial palace in Vienna, known as the Hofburg; the second pot à oille was damaged in the nineteenth century.[8] Unless a mistake was made in recording the purchase by Louis XVI in 1777, the Museum’s terrine cannot be identified as having been owned by the French monarch, as all of his were of the round model. Neither of the two terrines given to Gustav III is known to have survived in Sweden. A terrine now in the Designmuseum Danmark, Copenhagen,[9] may be one of these, but this cannot be proven, and its replaced lid and stand complicate the understanding of its history. A terrine of this model with similar decoration but without its stand was offered at auction in 1981 in Copenhagen;[10] it, too, may have been one of those owned by the Swedish king. However, two other very similar terrines were sold in 1911[11] and 1971,[12] respectively, and each of these also could have a royal Swedish provenance.

It appears that there are more terrines of this model, all of which have similar decoration consisting of trophies of agricultural implements and lush clusters of flowers, than are recorded in the sales records,[13] so a more complete history of the Museum’s tureen may never be known. The group of both round and oval tureens are among the most impressive tablewares produced at Sèvres, not only in terms of scale but also in regard to the quality of their painted decoration and their extensive use of gilding, all of which made them appropriate for use on a royal table.

Footnotes
Munger, Jeffrey. European Porcelain in the Metropolitan Museum of Art. NY: The Metropolitan Museum of Art, 2018.
1 Savill 1988, vol. 2, p. 738.
2 See, for example, Peters 2005, vol. 2, p. 283, for a list of the components and their prices in a service supplied to Louis XV (see entry 58 in this volume). Punch bowls with accompanying mortiers (mortars) could also be as expensive as tureens with stands. The punch bowl and mortar in the service cited above were valued together at 1,000 livres, exceeding the 800 livres assigned to each of the two oval tureens and stands.
3 The design for this model is attributed to Jean- Claude Thomas Duplessis (French, 1730–1783); see Brunet and Préaud 1978, p. 196, under fig. 217. See also Whitehead 1999, pp. 2, 5–6.
4 Archives, Cité de la Céramique, Sèvres, Vy 6, fol. 207v. See Peters 2005, vol. 3, pp. 561–63, for a full account of the history of this service.
5 Archives, Cité de la Céramique, Sèvres, Vy 7, fol. 19v. As the four pots à oglio, épis de blè, each valued at 900 livres, are not listed with other tablewares, it appears that they were sold as independent works.
6 Peters 2005, vol. 3, pp. 707–12.
7 David Peters to Jeffrey H. Munger, letter of April 17, 2003, curatorial files, Department of European Sculpture and Decorative Arts, The Metropolitan Museum of Art, New York.
8 Ilsebill Barta in Marie-Antoinette 2008, p. 332.
9 Designmuseum Danmark, Copenhagen (162).
10 Arne Bruun Rasmussen 1981, no. 269 (without stand).I thank David Peters for bringing this reference to my attention.
11 Hôtel Drouot, Paris, sale cat., June 8, 1911, no. 2 (without stand).
12 Parke- Bernet Galleries, New York, sale cat. (sale held on the premises of Magnolia Hill, San Antonio, Texas), April 28–29, 1971, no. 162 (with matching stand). I thank David Peters for also bringing this reference to my attention.
13 The tureens offered in the 1911 and 1981 sales and the tureen with stand offered in a 1971 sale were illustrated in their accompanying catalogues in black and white, with only one view shown. Based on these photographs, it appears that they are three different tureens, but not having seen any of them, nor the one now in Copenhagen, the author cannot state this with certainty.
  大都会艺术博物馆,英文 Metropolitan Museum of Art,是美国最大的艺术博物馆,世界著名博物馆,位于美国纽约第五大道的82号大街。
  大都会博物馆回顾了人类自身的文明史的发展,与中国北京的故宫、英国伦敦的大英博物馆、法国巴黎的卢浮宫、俄罗斯圣彼得堡的艾尔米塔什博物馆并称为世界五大博物馆。