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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)花瓶(一对之一)
品名(英)Vase (one of a pair)
入馆年号1964年,64.101.145
策展部门欧洲雕塑和装饰艺术European Sculpture and Decorative Arts
创作者Meissen Manufactory【1710 至 现在】【德国人】
创作年份公元 1713 - 公元 1725
创作地区
分类陶瓷-瓷器(Ceramics-Porcelain)
尺寸整体 (confirmed): 8 11/16 × 4 7/16 × 3 13/16 英寸 (22.1 × 11.3 × 9.7 厘米)
介绍(中)在运营的最初几十年里,迈森工厂将未经装饰的瓷器出售给被称为Hausmalers的独立瓷器画家,或字面意思是"在家工作的画家"。[1] 工厂进行这些销售的动机可能有几个原因;主要是,它们创造了收入,并提供了一种处理"秒"或略有缺陷的物品以及不再被视为时尚的模型的方法。反过来,豪斯马勒夫妇一定预料到他们可以在他们的小型独立作坊中装饰瓷器,并以比工厂装饰物品更低的价格出售成品。总的来说,豪斯马勒绘制的迈森"空白"表现出广泛的个人风格,将它们与迈森装饰的作品区分开来,后者倾向于在任何特定时刻都坚持工厂风格。虽然一些豪斯马勒的作品可能看起来不如迈森画家所实践的技术那么有成就和复杂,但其他豪斯马勒是技艺精湛的瓷器画家,他们发展了独特的风格,使他们的作品能够与迈森的作品竞争。此外,独立画家可以比工厂更容易地满足客户在特定装饰方案方面的愿望,这一功能增强了Hausmalerei(用于独立装饰瓷器的术语)的吸引力。1722年,迈森认识到工厂财务成功的各种威胁,确保所有出售的瓷器都带有工厂标志,由在釉下涂漆的交叉剑组成,[2]并且只有有缺陷的白瓷可供独立装饰者使用。[3]

两个博物馆花瓶上的装饰归功于伊格纳茨·普雷斯勒(Ignaz Preissler,德国人,1676-1741 年),他是豪斯马勒家族中最有才华和最多产的人之一。普雷斯勒装饰的瓷器通常涂有黑色珐琅,风格称为Schwarzlot(直译为"黑铅"),红色珐琅或两者的组合。[4]他特别擅长在烧制前使用在珐琅上划过的细线来创造高水平的细节,这种技术的使用是他风格的显着特征之一。此外,经常使用镀金来突出某些细节,这两个花瓶上的场景执行是他最优秀的作品的典型。这些花瓶是所谓的Böttger瓷器(见42.205.26),这个术语通常用于描述约翰·弗里德里希·博特格(Johann Friedrich Böttger,德国,1682-1719)在迈森开发的第一个瓷器主体。它具有独特的灰白色调,与 1720 年代初在 Böttger 去世后开发的更冷、更白的瓷膏形成鲜明对比。豪斯马勒装饰的大部分迈森瓷器都可以追溯到博特格的时代;这个早期的未装饰作品可能被认为不如新的,更白的瓷器,因此由工厂出售给独立的装饰商。这些花瓶

的形式与1713-20年间在迈森生产的其他花瓶有相似之处,其中简单的花瓶形式通过应用的低浮雕装饰得到增强,[5]在这种情况下,带有鼠尾草叶和面具。然而,作者知道的这个确切模型的唯一其他花瓶是现在芝加哥艺术学院收藏的一对,规模略小。[6]芝加哥两个花瓶上的装饰可以坚定地归因于普雷斯勒,共享的装饰和镀金类型表明它们和博物馆花瓶曾经形成一个装饰品或一组花瓶。装饰品几乎肯定会包括第五个或更大的花瓶,可能是同一型号的,但不知道这样的花瓶。

所有四个花瓶都绘有海战场景,这些场景以构图的密度、突出的滚滚浓烟云和汹涌的大海而闻名,这些海面由划入黑色珐琅的细线渲染。类似的微缩场景在边缘下方和脚上都可以找到。选择这两个区域进行装饰表明这些花瓶是在工厂外绘制的,因为在工厂装饰的花瓶上,在这些位置绘制的场景是非常不寻常的。这是普雷斯勒作为画家的技巧的一个衡量标准,主要场景的组成是为了容纳每个花瓶上的两个低浮雕面具。

莫琳·卡西迪-盖格(Maureen Cassidy-Geiger)令人信服地提出,所有四个花瓶上的场景都直接受到为纪念西班牙王位继承战争(1701-14)而发行的一系列印刷品的启发。[7]这些版画是一个更大的群体的一部分,描绘了与战争相关的重大事件,这些事件出现在Repraesentatio Belli,ob successionem在Regno Hispanico 。由奥格斯堡的耶利米亚斯·沃尔夫(德语,1663-1724 年)在 1714 年后的某个时候出版。这本超大版画相册很可能是由知识渊博且富裕的收藏家购买的,而不是由艺术家购买的,用于实际使用,因此普雷斯勒从该卷中获得版画表明赞助人积极参与了这些花瓶的委托。[8]这种对定制订单进行装饰的能力是使Hausmalers在18世纪上半叶在瓷器市场中占据重要角色(如果仍然被低估)的因素之一,工厂出售给这些独立装饰商的瓷器代表了迈森历史上有趣的篇章。


脚注
有关缩短参考文献的关键,请参阅芒格的参考书目,大都会艺术博物馆的欧洲瓷器。纽约:大都会艺术博物馆,2018)
1 卡西迪-盖格 1989,第 240 页。目前对豪斯马勒作品的了解和赞赏在很大程度上要归功于莫琳·卡西迪-盖格。另见Cassidy-Geiger 1987。
2 1731年3月,使用交叉剑的要求得到加强;卡西迪-盖格,1994年,第6页,第6期。
3 皮奇 2011,第 43 页。
4 关于普雷斯勒的信息,见卡西迪-盖格,1987年;Cassidy-Geiger 1989,尤其是第252-53页的传记信息。另见Espir 2005,第128-30页。
5 见E.齐默尔曼,1926年,第24页,图8;迈森 1984年,生病。第180号。
6 见芝加哥艺术学院,《花瓶和封面对》,1715-20。由德国人伊格纳兹·普雷斯勒(Ignaz Preissler,1676-1741)装饰,通过埃德加·J·尤莱因夫人(1984.80a-b和1984.81a-b)限制古文物协会的礼物。这两个花瓶现在装有盖子,可能最初是用于咖啡壶的。虽然盖子上的镀金和黑色珐琅似乎与花瓶上可见的内容有关,但不知道盖子是何时添加的。见Müller-Hofstede 1983,第26-27页。
7 花瓶、相关的部分茶水和版画之间的关系在卡西迪-盖格 1989 年进行了彻底的讨论。
8 同上,第252页。
介绍(英)During the first several decades of operation, the Meissen factory sold undecorated porcelain to independent porcelain painters known as Hausmalers, or literally “painter/s [working] at home.”[1] The factory may have been motivated to make these sales for several reasons; chiefly, they generated revenue and provided a means of disposing of “seconds,” or slightly flawed objects, as well as models no longer deemed fashionable. In turn, the Hausmalers must have anticipated that they could decorate the porcelains in their small, independent workshops and sell the completed products for lesser sums than those commanded by factory- decorated objects. In general, the Meissen “blanks” painted by Hausmalers exhibit a wide range of individual styles that distinguish them from works decorated at Meissen, which tended to adhere to the factory style promulgated at any given moment. While the work of some Hausmalers can appear less accomplished and sophisticated than the techniques practiced by the painters at Meissen, other Hausmalers were highly skilled porcelain painters who developed distinctive styles that allowed their works to compete with those produced at Meissen. In addition, independent painters could accommodate a client’s wishes in terms of specific decorative schemes more easily than the factory, a function that enhanced the appeal of Hausmalerei, the term used for independently decorated porcelain. In recognition of various threats to the factory’s financial success, in 1722 Meissen ensured that all porcelain sold bore the factory mark consisting of crossed swords painted under the glaze,[2] and only defective white porcelain was made available to independent decorators.[3]

The decoration on the two Museum vases is attributed to Ignaz Preissler (German, 1676–1741), one of the most talented and prolific of the Hausmalers. Porcelains decorated by Preissler are usually painted with black enamel in a style known as Schwarzlot (literally translated as “black lead”), in red enamel, or a combination of the two.[4] He was particularly skilled in employing fine lines scratched into the enamel before firing to create a high level of detail, and the use of this technique is one of the distinguishing features of his style. In addition, frequently used gilding to highlight certain details, and the execution of the scenes on these two vases is typical of his finest work. The vases are so- called Böttger porcelain (see 42.205.26), a term often used to describe the first porcelain body developed at Meissen by Johann Friedrich Böttger (German, 1682–1719). It has a distinctive off- white hue in contrast to the cooler, whiter porcelain paste developed in the early 1720s after Böttger’s death. Much of the Meissen porcelain decorated by Hausmalers dates from Böttger’s time; it is probable that undecorated pieces from this early period were regarded as inferior to the new, whiter porcelain and thus sold by the factory to independent decorators.

The form of these vases shares similarities with those of other vases produced at Meissen during the years 1713–20, in which a simple baluster form is enhanced with applied low-relief decoration,[5] in this instance, with acanthus leaves and a mask. However, the only other vases of this exact model known to the author are a pair now in the collection of the Art Institute of Chicago, which are slightly smaller in scale.[6] The decoration on the two vases in Chicago can be firmly attributed to Preissler, and the shared type of decoration and gilding suggests that they and the Museum vases once formed a garniture, or a set of vases. The garniture almost certainly would have included a fifth and larger vase, probably of the same model, but no such vase is known.

All four vases are painted with naval battle scenes that are notable for the density of the compositions, the prominent billowing clouds of smoke, and the turbulent seas, which are rendered by fine lines scratched into the black enamel. Similar scenes in miniature are found just below the rim and on the foot. The choice of these two areas for decoration is one indication that these vases were painted outside the factory, as scenes painted in these locations would be highly unusual on factory-decorated vases. It is a measure of Preissler’s skill as a painter that the primary scenes are composed to accommodate the two low-relief masks on each vase.

Maureen Cassidy-Geiger has persuasively suggested that the scenes on all four vases were inspired directly by a series of prints issued to commemorate the War of the Spanish Succession (1701–14).[7] These prints were part of a much larger group depicting significant events associated with the war that appeared in Repraesentatio Belli, ob successionem in Regno Hispanico . . . published by Jeremias Wolff (German, 1663–1724) of Augsburg sometime after 1714. This album of oversize prints is likely to have been purchased by a knowledgeable and affluent collector rather than by an artist for practical use, and thus Preissler’s access to prints from the volume suggests the active involvement of a patron in the commissioning of these vases.[8] This ability to execute decoration to customized orders was one of the factors that allowed Hausmalers to occupy a significant, if still underappreciated, role in the porcelain market in the first half of the eighteenth century, and the porcelain sold by the factory to these independent decorators represents an intriguing chapter in Meissen’s history.


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 Cassidy-Geiger 1989, p. 240. The current under- standing and appreciation of the work of Hausmalers is much indebted to Maureen Cassidy-Geiger. See also Cassidy-Geiger 1987.
2 The requirement to use the crossed swords was rein- forced in March 1731; Cassidy-Geiger 1994, p. 6, n. 6.
3 Pietsch 2011, p. 43.
4 For information on Preissler, see Cassidy-Geiger 1987; Cassidy-Geiger 1989, especially the biographical information on pp. 252–53. See also Espir 2005, pp. 128–30.
5 See E. Zimmermann 1926, p. 24, fig. 8; Meissen 1984, ill. no. 180.
6 See Art Institute of Chicago, Pair of Vases and Covers, 1715–20. Decorated by Ignaz Preissler, German (1676–1741), Restricted Gift of The Antiquarian Society through Mrs. Edgar J. Uihlein (1984.80a–b and 1984.81a– b). The two vases are now fitted with lids that presumably were intended originally for coffeepots. While the gilding and black enamel on the lids appear to relate to what is visible on the vases, it is not known when the lids were added. See Müller- Hofstede 1983, pp. 26–27.
7 The relationship between the vases, a related partial tea service, and the prints is discussed thoroughly in Cassidy- Geiger 1989.
8 Ibid., p. 252.
  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。