微信公众号 
图码生活

每天发布有五花八门的文章,各种有趣的知识等,期待您的订阅与参与
搜索结果最多仅显示 10 条随机数据
结果缓存两分钟
如需更多更快搜索结果请访问小程序
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)
读取中
读取中
读取中
品名(中)描绘圣保罗皈依的游行盾牌
品名(英)Parade Shield Depicting the Conversion of Saint Paul
入馆年号1925年,25.163.1
策展部门武器和盔甲Arms and Armor
创作者
创作年份公元 1545 - 公元 1595
创作地区原产国: 意大利, 米兰(Country of Origin: Italy, Milan)
分类护罩(Shields)
尺寸直径 22 1/8 英寸 (56.2 厘米); 深 at center 2 1/4 英寸 (5.7 厘米); 重 8 磅 4 盎司 (3742.1 g)
介绍(中)蓝黑色钢制的圆形盾牌形状略微凸起,浮雕、凿刻、冲孔,金银色华丽。外缘翻滚,并倾斜有金色和银色条纹。外缘的宽带上浮雕着四个圆形奖章,这些奖章由大马士革带状框架,并包含四位罗马皇帝的肖像半身像。奖章通过丝带相互连接,缎带上悬挂着古董和文艺复兴时期的武器奖杯、一束束水果和鲜花,以及带有飘动条纹帷幔的普蒂。中央的大圆形场地由交替的金银叶子的月桂花环构成,包含圣保罗皈依的代表。这些人物穿着罗马盔甲,他们的肉体是银色的,服装和风景的细节以不同的图案呈现。盾牌边缘周围的一系列孔以前装有铆钉以固定衬里,其臂垫和前臂和手的带子现在不见了。

这面盾牌上描绘的场景强行描述了圣保罗一生中最戏剧性的时刻,他在前往大马士革的路上皈依:"他行进时,来到大马士革附近,突然有一道光从天上照来,他倒在地上,听见有声音对他说,扫罗,扫罗, 你为什么要逼迫我?"(使徒行传,9:3-4)。扫罗(圣保罗在他皈依之前被称为)被扔在地上,他的马倒在他身下,他的双手遮住了他的眼睛,不让眼花缭乱的幻影。他的两名士兵试图帮助他,而他的其余成员则惊奇地盯着他或惊恐地逃跑。向背景开放的深邃景观包括一座由圆顶建筑、高大的金字塔和雕像组成的城市,左边可以看到三个小人物:扫罗被他的视力蒙蔽了双眼,由两个同伴带领前往大马士革,在那里他的视力将得到恢复,他新发现的基督教信仰将得到证实。

圆形或椭圆形的铁盾浮雕,上面有古代、圣经甚至当代历史或古典神话中的场景,是 16 世纪下半叶米兰盔甲师和金匠的专长。这些盾牌通常伴随着勃艮第或卡巴塞特类型的开放式头盔,以匹配这些头盔,当与织物服装,邮件甚至仿照罗马原型的板甲一起佩戴时,构成了英雄风格的游行盔甲。浮雕铁,色彩丰富,金银色大马士革,为表现复杂的具象场景提供了极好的媒介,这些场景通常基于意大利和法国版画家发行的版画。可以确定该盾牌装饰的图形来源:装饰边缘的丝带上悬挂的腻子和水果和鲜花束似乎是基于法国雕刻师让·米尼翁在枫丹白露的版画的装饰边框,圣保罗皈依的场景来自巴黎雕刻师艾蒂安·德劳恩(Etienne Delaune)对该主题的印刷品。德劳恩的印刷品没有注明日期,但它一定是在 1567 年之前发行的,当时马里奥·卡塔罗在罗马出版了它的精确副本(编号 59.595.16)。鉴于Delaune版画和Cataro的副本之间没有重大差异,因此无法确定哪种印刷品是装甲师的模型。如果使用卡塔罗的印刷品,盾牌的日期必须晚于1567年。

圣保罗的皈依似乎是一个流行的基督教主题,用于装饰这些盾牌(其中大多数在其主题上偏爱古代历史),并在巴黎军队博物馆的两个盾牌上找到(第 I.65 和 I.79 号),都灵皇家军团的四面盾牌(第 17 号, F.19、F.20和F.21),以及伦敦华莱士收藏的一辆出租车(第A.133号)。出租车上的场景似乎也是基于德劳恩或卡塔罗的同一版画。
介绍(英)The circular shield of blue-black steel is slightly convex in shape and is embossed in relief, chiseled, punched, and richly damascened in gold and silver. The outer edge is rolled over and obliquely striped in gold and silver. A wide band along the outer edge is embossed with four round medallions which are framed by damascened strapwork and contain portrait busts of four Roman emperors. The medallions are connected to one another by ribbons from which are suspended trophies of antique and Renaissance arms, bunches of fruit and flowers, and putti with fluttering striped drapery. The large circular field at the center, framed by a laurel wreath of alternating gold and silver leaves, contains a representation of the Conversion of Saint Paul. The figures are dressed in Roman armor, their flesh silvered, and the details of the costumes and landscape damascened in different patterns. A series of holes around the edge of the shield formerly held rivets to secure the lining, with its arm pad and straps for the forearm and hand, now missing.

The scene depicted on this shield forcuses on the most dramatic moment in the life of Saint Paul, his conversion on the road to Damascus: "And as he journeyed, he came near Damascus, and suddenly there shined a light from heaven and he fell to the earth, and heard a voice saying unto him, Saul, Saul, why persecutest thou me?" (Acts of the Apostles, 9:3–4). Saul (as Saint Paul was known prior to his conversion) is shown thrown to the ground, his horse collapsed under him, with his hands shading his eyes from the blinding apparition. Two of his troopers attempt to assist him, whereas the rest of his band stare in amazement or flee in terror. The deep landscape that opens into the background includes a city of domed buildings, tall pyramids, and statues, and the left three tiny figures can be seen: Saul, blinded by his vision, is led by two companions to Damascus, where his eyesight will be restored and his newfound Christian faith confirmed.

Circular or oval iron shields embossed in relief with scenes taken from ancient, Biblical, or even contemporary history, or from classical mythology, were a specialty of Milanese armorers and goldsmiths in the second half of the sixteenth century. These shields were often accompanied by open helmets of burgonet or cabasset type decorated to match which, when worn with a fabric costume, mail, or even plate armor modeled upon Roman prototypes, constituted a parade armor in the heroic style. Embossed iron, richly colored and damascened in gold and silver, provided an excellent medium for representing complex, figural scenes which were usually based on engravings issued by Italin and French printmakers. The graphic sources for the decoration of this shield can be identified: the putti and bunches of fruit and flowers suspended from ribbons that decorate the rim appear to be based upon the ornamental border of a print by French engraver Jean Mignon at Fontainebleau, and the scene of the Conversion of Saint Paul derives from a print of that subject by the Parisian engraver Etienne Delaune. Delaune's print is undated, but it must have been issued before 1567 when an exact copy of it was published by Mario Cataro in Rome (acc. no. 59.595.16). In light of the fact that there are no major differences between the Delaune print and the copy by Cataro, there is no way of ascertaining which print served as the model for the armorer. If the print by Cataro was used, the shield must date after 1567.

The Conversion of Saint Paul seems to have been a popular Christian theme for the decoration of these shields (most of which favored ancient history in their subject matter) and is found on two shields in the Musée de l'Armée, Paris (inv. nos. I.65 and I.79), four shields in the Armeria Reale, Turin (inv. nos. F.17, F.19, F.20, and F.21), and on a cabasset in the Wallace Collection, London (inv. no. A. 133). The scene on the cabasset also appears to be based upon the same print by Delaune or Cataro.
  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。