带盖花瓶（象牙花瓶）（一对之一） - 美国大都会艺术博物馆展品查阅

品名（中）	带盖花瓶（象牙花瓶）（一对之一）
品名（英）	Vase with cover (Vase en ivoire) (one of a pair)
入馆年号	1941年，41.190.60a, b
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者
创作年份	公元 1781 - 公元 1791
创作地区
分类	天然物质象牙（Natural Substances-Ivory）
尺寸	高 15 x 宽 9 x 深 6-1/2 英寸 (38.1 x 22.9 x 16.5 厘米)
介绍（中）	象牙加工在十六世纪和十七世纪初一直是欧洲宫廷的时尚消遣，并在十八世纪下半叶在法国和其他地方复兴。路易十五自己在车床上工作，他的女儿们接受了这种艺术形式的指导。他的孙子太子，未来的路易十六也上课，他的兄弟们也是如此。大革命前夕，凡尔赛宫记录了一组象牙花瓶，可能是由王室成员创作的。然而，更有可能的是，米歇尔·瓦赞（Michel Voisin，1729-1786）成为路易十六的主人，或者他的儿子弗朗索瓦对这些珍贵的花边状物品负责。年轻的瓦赞（Voisin）的一系列雕刻设计，名为Nouveau Cahier de vases，composés par Voisin Fils，其中包括一个与博物馆的花瓶相似但比博物馆的花瓶更精致的花瓶。主要区别在于博物馆有盖花瓶的主体和肩部装饰有垂直的镂空通道，而不是螺旋形的通道。正如雕刻中所暗示的那样，博物馆的器皿上装饰着镀金青铜支架。特别值得一提的是造型精美的女性半身像和形状像常春藤交错树枝的滚动手柄。由于博物馆这对18世纪的出处仍然是个谜，人们只能怀疑它们是否是凡尔赛宫象牙收藏的一部分。1786年，国王的姑姑维克托瓦夫人在贝尔维尤城堡的内阁内部也记录了九个这样的花瓶，陈列在单独的玻璃柜中。这种保护壳的存在表明，这些异国情调的镂空容器纯粹是装饰性的，被认为太精致了，不能用作百花瓶。
介绍（英）	Ivory-turning had been a fashionable pastime at European courts during the sixteenth and early seventeenth centuries, and it was revived in France and elsewhere during the second half of the eighteenth century. Louis XV worked the lathe himself, and his daughters received instruction in this art form. His grandson the dauphin, the future Louis XVI, also took lessons, as did his brothers. A group of ivory vases was recorded at the Château de Versailles on the eve of the Revolution, possibly created by members of the royal family. It is more likely, however, that Michel Voisin (1729–1786), turning master to Louis XVI, or his son François was responsible for these precious, lacelike objects. A series of engraved designs by the younger Voisin, entitled Nouveau Cahier de vases, composés par Voisin Fils, includes a vase that is similar to but more elaborate than the Museum’s pair. The chief difference is that the body and shoulder of the Museum’s covered vases are decorated with vertical openwork channels instead of spiraling ones. As suggested in the engraving, the Museum’s vessels are richly embellished with gilt-bronze mounts. Especially noteworthy are the beautifully modeled female busts and the scrolling handles shaped like interlaced branches of berried ivy. Since the eighteenth-century provenance of the Museum’s pair remains a mystery, one can only wonder if they were part of the ivory collection at Versailles. Nine such vases were also documented in the Cabinet Intérieur of the king’s aunt Madame Victoire at the Château de Bellevue in 1786, displayed in individual glass cases. The presence of such protective cases suggests that these exotic openwork vessels were purely decorative and considered too delicate for use as potpourri holders.