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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)进料碗
品名(英)Feeding bowl
入馆年号1954年,54.147.8
策展部门欧洲雕塑和装饰艺术European Sculpture and Decorative Arts
创作者Villeroy【1734 至 1748】【法国人】
创作年份公元 1745
创作地区
分类陶瓷-瓷器(Ceramics-Porcelain)
尺寸整体 (confirmed): 1 7/8 × 8 3/8 × 2 5/16 英寸 (4.8 × 21.3 × 5.9 厘米)
介绍(中)这种鱼形的喂食器是维尔罗伊工厂的一件引人注目的物品。这是该工厂现存最具雄心的雕塑作品之一[1],该器皿是已知的唯一一件过时的维尔罗伊瓷器。此外,这件作品上有大量的铭文,在工厂生产的任何其他物品上都没有发现。然而,尽管它的日期和铭文,该船的某些方面仍然模糊不清

该船以梭子鱼或淡水鱼为模型,其特点是鱼口中清晰可见的剃刀状牙齿。鱼的上部有一个椭圆形开口,可以进入中空的身体,里面可能有汤、肉汤或其他类型的液体,可以通过梭子鱼嘴里形成的洞倒进去。鱼的尾巴可以使船倾斜,以便消耗液体。头部、鳃和尾巴被画成了梭子鱼身体的相应区域;同时,鱼的中间部分的两侧都装饰着水生景观中的人物。在船的一侧,一名女子由一名身穿长袍的男性乘坐船只,该长袍可能代表一名中国男子。一个大罐子位于船的前部。另一边,两个穿着类似长袍的人站在一只跳跃的狗状动物附近,很难确定其身份

这些作品的不同寻常表明这些场景有着特殊的意义,尽管它们的意义尚不清楚。考虑到船只的形式,水上景观的选择是合乎逻辑的,但图像的组合暗示了更具体的象征意义。底面锚的描绘显然与船只的海洋主题有关,但尚不清楚锚是否与底面上刻的名字有关,是否作为船只画家的标志[2],或者是否具有其他尚未发现的意义

甚至下面的名字和用来拼写的字母都可以解释。作者把这个名字读作"Piere Bouquet",姓氏的两个音节刻在不同的行上,但其他人把姓氏读作"Bonzuel"[3]和"Bon[?]Ducet"[4]。画家用华丽的装饰某些字母,使对这个名字的理解变得更具挑战性。更为复杂的是,"Piere"附近的标记,可以读作装饰性的华丽装饰,也可以读作"Bon"。

从18世纪中期开始,人们就不可能用与三种拼写中的任何一种对应的姓氏来追踪"Piere)",因此,刻上名字的人的身份仍然是个谜,它在船上出现的意义也是如此。如果这只器皿是用来喂养婴儿的,那么这个名字很可能是给会使用它的孩子取的,这也表明这只器皿的制作是为了纪念一次出生。如果维尔罗伊鱼是为喂养一个残疾人而制作的,[5]可以假设刻上的名字不是指预期的使用者,而是指其他人。任何瓷器厂的画家都没有在如此突出的作品上签名的先例,也没有任何关于维尔罗伊工厂工人使用这个名字的记录[6],这就降低了这个名字可以被解释为装饰它的人的名字的可能性。

字母DV也出现在容器底部的突出位置,可能指的是维尔罗伊公爵;[7] 毫不奇怪,他的首字母缩写会成为保护他的工厂的标志。[8] 与下侧的其他标记类似,DV标记是用黑色珐琅绘制的,其他幸存的维尔罗伊瓷器表明,DV标记被绘制在工厂生产的大部分(如果不是全部的话)上。此外,DV标记以雕刻的形式出现,这种形式更常见于Mennecy生产的作品上,Mennecy是Villeroy的继任者工厂,由François Barbin(法语,约1689-1765)于1750年建立,距离Villeroy工厂关闭已有两年。[9]
下侧不同寻常的各种标记及其明显的重要性表明,维尔罗伊鱼在制造时被公认为工厂最重要的成就之一。在形式和装饰方面,这条鱼反映了一定程度的精致度和技术技巧,这使它与维尔罗伊的其他作品有所区别。这件物品的制造日期为1745年,当时工厂只雇佣了两名工人[10],这使得其生产环境更加令人费解。虽然进一步的纪录片研究可能会回答这个有趣的物体提出的一些问题,但不需要额外的信息来欣赏维尔罗伊鱼所体现的创造力和独创性


脚注
(缩短参考文献的关键参见Munger的参考书目,大都会艺术博物馆的欧洲瓷器。纽约:大都会艺术馆,2018)
1也参见巴黎装饰艺术博物馆的一对贴花或墙袋(36278),这可能是Villeroy的作品,尽管雕刻的DV标记更常见地与Mennecy联系在一起。我感谢Errol Manners,E&;H Manners,伦敦,谢谢你提请我注意这些物品
2 Blaise 2001,第40页提出了这一解释
3 J.-G.Peyre 2000年,第92页;Blaise 2001,第40页
4道森,1994年,第48页。
5在J.-G.Peyre 2000年,第92页中,该船被称为疾病的金丝雀(一个不允许直译的术语)
6见《杜雄1988》,第100–118页。
7弗朗索瓦·路易斯·安妮·德·诺伊夫维尔(1695–1766),1734年成为第四代维勒罗伊公爵。
8首字母DV也用于建立Mennecy公爵领地边界的边界标记,其中包括维勒
介绍(英)This feeding vessel in the form of a fish is a remarkable object from the Villeroy factory. It is one of the most ambitious surviving sculptural works made at the factory,[1] and the vessel is notable for being the only known dated piece of Villeroy porcelain. In addition, this work bears an extensive inscription not found on any other object produced at the factory. However, despite its date and inscription, certain aspects of the vessel remain obscure.

Modeled to depict a pike, or a freshwater fish, the vessel is distinguished by its razorlike teeth that are clearly delineated in the fish’s mouth. An oval opening in the upper section of the fish provides access to the hollow body, which would have probably contained a soup, broth, or some other type of liquid to be poured through the hole formed in the pike’s mouth. The tail of the fish would have allowed the vessel to be tipped in order for the liquid to be consumed. The head, gills, and tail are painted to evoke the corresponding areas of a pike’s body; at the same time, either side of the middle section of the fish is decorated with figures in an aquatic landscape. On one side, a woman is ferried in a boat by a male figure wearing a robe, presumably intended to represent a Chinese man. A large canister is located prominently in the front of the boat. On the other side, two figures wearing similar robes stand near a leaping doglike animal, the identification of which is difficult to determine.

The unusualness of these compositions suggests that the scenes have particular meanings, though their significance remains unclear. The choice of aquatic landscapes is logical given the form of the vessel, but the combination of images suggests a more specific symbolism. The depiction of an anchor on the underside is clearly linked to the vessel’s marine themes, but it is not known if the anchor relates to the name inscribed on the underside, serves as the mark of the vessel’s painter,[2] or has some other as-yet-undiscovered significance.

Even the name underneath and the letters used to spell it are open to interpretation. The name is read by this author as “Piere Bouquet,” with the two syllables of the last name inscribed on different lines, but the last name has been read by others as “Bonzuel,”[3] and as “Bon[?] Ducet.”[4] The understanding of the name is made more challenging by the painter’s use of flourishes to decorate certain letters. A further complexity is provided by the markings near “Piere,” which can be read either as a decorative flourish or as “Bon.”

It has not been possible to trace “Piere” with a last name corresponding to any of the three spellings from the mid-eighteenth century, and thus the identity of the person whose name is inscribed remains a mystery, as does the significance of its appearance on the vessel. If the vessel was intended for feeding an infant, it is probable that the name is for the child who would have used it, suggesting, too, that the vessel was made to commemorate a birth. If the Villeroy fish were made for feeding an invalid,[5] it can be assumed that the inscribed name does not refer to the intended user but rather it must signify someone else. The lack of precedent for a painter at any porcelain factory to sign a work with this degree of prominence and the absence of any record of a worker at Villeroy with this name [6] discount the possibility that the name can be interpreted as that of the person who decorated it.

The letters DV also appear prominently on the underside of the vessel, probably referring to the duc de Villeroy;[7] it is not surprising that his initials would serve as the mark for the factory that had secured his protection.[8] Similar to other markings on the underside, the DV mark is painted in black enamel, and other surviving Villeroy porcelain suggests that the DV mark was painted on most, if not all, of the factory’s production. In addition, the DV mark appears in incised form, which is more commonly found on works produced at Mennecy, the successor factory to Villeroy established in 1750 by François Barbin (French, ca. 1689–1765), two years after the Villeroy operation closed.[9]
The unusual assortment of markings on the underside and the obvious importance attached to them suggest that the Villeroy fish was recognized as one of the factory’s most significant achievements at the time of manufacture. In terms of form and decoration, the fish reflects a degree of sophistication and technical skill that distinguish it from the rest of Villeroy’s production. Dated 1745, this object was made at a time when the factory employed only two workers,[10] which makes the circumstances of its production even more puzzling. While further documentary research may answer some of the questions raised by this intriguing object, no additional information is needed to appreciate the Villeroy fish for the creativity and originality that it embodies.


Footnotes
(For key to shortened references see bibliography in Munger, European Porcelain in the Metropolitan Museum of Art. NY: The Metropolitan Museum of Art, 2018)
1 See also a pair of appliques, or wall pockets, in the Musée des Arts Décoratifs, Paris (36278), which probably can be attributed to Villeroy, despite the incised DV mark more commonly associated with Mennecy. I am grateful to Errol Manners, E & H Manners, London, for bringing these objects to my attention.
2 This interpretation is suggested in Blaise 2001, p. 40.
3 J.- G. Peyre 2000, p. 92; Blaise 2001, p. 40.
4 Dawson 1994, p. 48.
5 The vessel is called a canard de malade (a term that does not allow for literal translation) in J.-G. Peyre 2000, p. 92.
6 See Duchon 1988, pp. 100–118.
7 François-Louis-Anne de Neufville (1695–1766), who became the fourth duc de Villeroy in 1734.
8 The initials DV were also used on boundary markers establishing the border of the duchy of Mennecy, which encompassed Villeroy; J.-G. Peyre 2000, p. 92.
9 This hypothesis was proposed in Le Duc 1987, p. 26. One known exception is offered by a tobacco jar and cover with an incised DV mark that is fitted with silver mounts bearing the discharge mark of Louis Robin (French, active at least 1738–44) for the years 1735–38, which suggests that the jar was made prior to at least 1748, the year the Villeroy factory closed; Gage and Marsh 1988, pp. 102–3, no. 16. I am grateful to Donna Corbin, Associate Curator, Philadelphia Museum of Art, for bringing this to my attention.
10 Le Duc 1987, p. 30.
  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。