带有风景和纹章的十字花车 - 美国大都会艺术博物馆展品查阅

品名（中）	带有风景和纹章的十字花车
品名（英）	Cartouches with landscapes and armorials against a mille-fleurs ground
入馆年号	2013年，2013.506
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 1545 - 公元 1555
创作地区
分类	纺织品挂毯（Textiles-Tapestries）
尺寸	整体: 66 1/8 × 209 13/16 英寸 (168 × 533 厘米) (5 ft. 6 英寸 x 17 ft. 6 英寸)
介绍（中）	这种挂毯具有独特的长而低的墙裙挂毯形式，可以放心地归功于在佛兰德大城市布鲁日工作的编织者，自15世纪中期以来，他们一直试图将自己与布鲁塞尔编织者完善的巨大、不朽的叙事和寓言式壁挂区分开来，专门制作以mille fleurs为背景的纹章挂毯，以及类似格式的唱诗班挂毯。正如在这幅挂毯中所体验到的那样，到了16世纪中期，布鲁日的卡通设计师和编织者通过开发更温暖的调色板，并将花朵紧密地聚集在一起，几乎遮住了黑暗的空白地面，更新了传统的撒满鲜花的千年花。花朵图案变成了一团绚丽、抽象的色彩；在技术上，大胆的编织风格，如偏心纬线（偏离经线和纬线的规则网格，形成细而曲折的线条），被用来代表植物的茎和下叶墙裙挂毯在英国客户中特别受欢迎（安特卫普的编织者称之为"op Engelse wijze"——"英国风格"），在意大利半岛，挂毯作为挂在袈裟胸前的"spaliere"受到了很高的需求。尽管悬挂在三个带花环的景观卡通中的纹章尚未确定，但它们很可能与佛罗伦萨、热那亚、威尼斯或卢切斯家族中的一个家族有关，这些家族通过贸易和银行业与布鲁日的市场联系在一起。
介绍（英）	With the distinctive long, low format of a wainscot tapestry, this hanging can be attributed with confidence to weavers working in the great Flemish city of Bruges, who since the mid-fifteenth century had sought to distinguish themselves from the massive, monumental narrative and allegorical wall hangings perfected by Brussels weavers, by specializing in armorial tapestries against mille-fleurs grounds, as well as in similarly formatted choir tapestries. As experienced in this tapestry, by the mid-sixteenth century Bruges’ cartoon designers and weavers updated conventional flower-strewn mille-fleurs by developing a warmer palette and by massing the flowers so closely together that the dark blank ground is almost obscured. The floral pattern becomes a glorious, abstract mass of dappling color; in technique, daring weaving styles like eccentric wefts (which deviate in thin sinuous lines from the regular grid of the warp and weft) are manipulated to represent the stems and lower leaves of the plants. Wainscot tapestries were particularly popular amongst English clientele (Antwerp weavers called them “op Engelse wijze”- ‘English style’) and on the Italian peninsula, where they were in high demand as “spaliere” to hang over cassone chests. Although the armorials suspended within the three garlanded landscape cartouches have not yet been identified, it is likely they are associated with one of the Florentine, Genovese, Venetian or Lucchese families connected with the Bruges’ markets through trade and banking.