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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)带箱子的祈祷书(mahdar)
品名(英)Prayer book with case (mahdar)
入馆年号1895年,95.67a, b
策展部门迈克尔·洛克菲勒之翼The Michael C. Rockefeller Wing
创作者Wäldä Maryam【非洲人】
创作年份公元 1800 - 公元 1897
创作地区埃塞俄比亚(Ethiopia)
分类隐藏文档(Hide-Documents)
尺寸高 8 1/4 x 宽 5 3/4 x 深 2 3/4 英寸 (20.96 x 14.61 x 6.99 厘米)
介绍(中)这本皮革装订的手稿是一本祈祷书,用埃塞俄比亚东正教的礼拜语言GŞ'ez写成。它的144对开本有三种不同的装饰:一种整版的照明;交错边界(haräg);以及文字装饰,包括标点符号和标题。对开本1v上的整页插图可能在以后被添加到书中,这一建议得到了与书正面其他部分不同的手部书写以及图像的局部性质的支持。用红色和赭色绘制,黑色轮廓,照明描绘了一个男孩拿着一根竹子和一根鞭子。他的扇形波浪状头发被一个由辐射状平行黑线组成的光环勾勒出来并环绕着。他的脸和身材都采用了渐变色的阴影,与短裤褶皱和左肩上的红色包裹物形成的不透明的颜色线形成了鲜明对比。包装纸的尾部和左腿,裸露的脚趾几乎没有擦过看不见的地面,向页面左侧延伸,给人一种向前运动的感觉。他伸出的右臂上的皮鞭在边缘被剪掉,这表明它曾经穿过一块更大的羊皮纸。雅克·梅西尔(Jacques Mercier)将这个人物解读为《旧约》中大卫和歌利亚的故事中的大卫(Object File,2005)。然而,由于照明缺乏埃塞俄比亚绘画的典型文字说明,因此识别仍有其他可能性

第二类插图haräg出现在对开本2r、7r、55r、72r、84r、108r、125r、135v和141r上。haräg这个名字唤起了这些乐队中使用的葡萄酒线交织图案,并突出和分离了文本的关键部分。本卷中的haräg用蓝色、黑色、赭色和红色绘制,融合了多种排列中的几个重复图案:多瓣花;四重叶;交错;滚动树叶;嵌套三角形;杏仁形状的眼睛,瞳孔深黑。这些奇异的眼睛并不代表真正的器官,而是象征着眼睛的保护力量,用来转移恶魔。图案的重复确保了每个haräg都是独特的,但始终保持和谐。正如用GŞ'ez书写的文本中常见的那样,正文由碳基黑色墨水组成,而植物基红色墨水则保留用于专有名称、标点符号和标题。整个文本都是用一只非常均匀的小手写的:对开140v上的一个colophon将抄写员识别为WäldäMaryam。几页纸的边缘绑着几根红色或蓝色的细线

作为这份手稿的抄写员,WäldäMaryam可能负责其创作的所有物理方面,包括羊皮纸和墨水的制作、装订和照明。这种规模和质量的书的Parchment很可能来自山羊或瞪羚的皮肤。浸泡在水中后,将皮肤绑在一个框架上,用弯曲的金属刀和浮石刮去脂肪和肉,然后在阳光下干燥。干燥后,再次刮去皮肤上的毛发,使表面均匀。在从框架上取下之前,用锥子刺破皮肤,以指示将在哪里切割bifolio羊皮纸。然后在肉的侧面刻上模糊的线条,以引导抄写员的笔,或者遮挡照明区域。在文本和插图完成后,将整理好的bifolios装订成羊皮纸叶子的小集合,然后用一种链式缝线装订。这份手稿的144页羊皮纸和一页纸被装订成12页

埃塞俄比亚的手稿几乎总是装订在木板之间。特别珍贵的作品,如这本祈祷书,然后用染色和装饰的皮革覆盖。一旦用淀粉糊粘在木制盖子上,抄写员就用盲工装装饰它,用加热的金属工具将设计印在皮革上。虽然人们更喜欢各种各样的图案,这在较小的法典中是典型的,但这篇祈祷文的封面只包含了一些最常用的图案。装饰图案并非纯粹抽象,而是通常带有唤起其自身形式或宗教象征名称的名称。中心十字架的横杆和第二个边界的拐角处有被称为"鸽子眼"的嵌套圆(ayne regib,ዓይነ:ርግብ), 而最里面的边界包含交错设计(Z字形,ባለባመድ) 让人想起手稿中被照亮的haräg。封面的内部盲板被沃森图书馆的书板遮住了,这表明这本书曾经放在图书馆的"现代艺术"书架上。尽管它掩盖了内封面皮革上的盲板,但这个书板证明了该卷在大都会艺术博物馆机构内的历史:1895年进入图书馆收藏后,它于1986年被转移到中世纪部,并被转移到非洲、大洋洲和美洲艺术部(现在的迈克尔·C。Rockefeller Wing)于1991年出版。与埃塞俄比亚的治疗卷轴(95.66)一起,它是最早进入大都会收藏的非洲物品之一。像这样的豪华卷通常被装在一个皮包里,这个卷会保留下来

皮套(mahdar)是由扁平的皮革拼接和编织在一起制成的,形成一个带有盖子的袋子,盖子巧妙地向上滑动,由两侧的带子固定。最常见的是将书拉紧到封面顶部,形成一条长带子,这一特点使书可以随身携带或悬挂存放。带子也可以沿着表壳的短边拉,以形成更小的把手。书籍通常挂在泽布角上
介绍(英)This leather-bound manuscript is a prayer book written in Gə’ez, the liturgical language of the Ethiopian Orthodox Church. Its 144 folios features three distinct kinds of ornaments: a single full-page illumination; interlaced borders (haräg); and textual ornament, including punctuation marks and headers. The full-page illumination on folio 1v may have been added to the book at a later date, a suggestion supported by the presence of writing in a hand different from that used in the rest of the book on its recto side and the partial nature of the image. Painted in red and ochre with a black outline, the illumination depicts a boy carrying a piece of bamboo and a whip. The scalloped waves of his hair are outlined and encircled by a halo composed of radiating parallel black lines. His face and figure are well-modeled with gradient colored shading that contrasts with the opaque lines of colors that form the folds of his shorts and the red wrapper tossed over his left shoulder. The tail of the wrapper and the left leg, bare toes barely grazing the invisible ground, extend towards the left side of the page, giving a sense of forward motion. The whip held in his extended right arm is cut off at the edge, suggesting that it once continued across a larger piece of parchment. Jacques Mercier has interpreted this figure as David, from the Old Testament story of David and Goliath (Object File, 2005). However, as the illumination lacks an accompanying written caption typical of Ethiopian painting, the identification remains open to other possibilities.

The second class of illustrations, haräg, appears on folios 2r, 7r, 55r, 72r, 84r, 108r, 125r, 135v, and 141r. The name haräg evokes the vineline interlacing motifs used in these bands, and highlight and separate key parts of the text. Painted with blue, black, ochre, and red, the haräg in this volume incorporate several repeating motifs in a variety of arrangements: multi-petaled flowers; quatrefoils; interlaces; scrolling leaves; nested triangles; and almond-shaped eyes with dark black pupils. These singular eyes do not represent actual organs, but symbolize the protective powers of the eyes, which serve to deflect demons. The repetition of motifs ensures that each haräg is unique, yet remain harmonious throughout. As is common in texts written inGə’ez, the main text is composed in a carbon-based black ink, while vegetable-based red ink is reserved for proper names, punctuation marks, and headlines. The entire text is written with a small, very even hand: a colophon on folio 140v identifies the scribe as Wäldä Maryam. Small pieces of red or blue thread are tied to the edges of several pages.

As scribe of this manuscript, Wäldä Maryam was likely responsible for all physical aspects of its creation, including the making of parchment and ink, binding, and illumination. Parchment for a book of this scale and quality was likely sourced from the skin of a goat or a gazelle. After soaking in water, skins are tied to a frame to be scraped clean of fat and flesh with a curved metal knife and a pumice stone, then dried in the sun. After drying, the skin is again scraped to remove hair and make the surface even. Prior to removal from the frame, the skin is pricked with an awl to indicate where the bifolio parchment sheets will be cut. Faint lines are then scored on the flesh side to guide the scribe’s pen, or to block out areas for illuminations. After the text and illuminations are complete, the collated bifolios are bound into quires, small collections of parchment leaves, and then bound with a kind of chain stitch. This manuscript’s 144 parchment pages and one paper page are bound into twelve quires.

Ethiopian manuscripts are nearly always bound between pieces of wood. Especially valuable works, such as this prayer book, were then covered with dyed and ornamented leather. Once glued to the wooden cover with starch paste, the scribe decorated it with blind tooling, the stamping of designs into the leather with heated metal tools. While a large variety of patterns is preferred, as is typical in smaller codices, the cover of this prayer text incorporates only some of the most commonly used.The decorative motifs are not purely abstract, but often carry names that evoke both their own forms or the names of religious symbols. The bars of the central cross and the corner of the second border are tipped with nested circles called “dove’s eye” (ayne regib, ዓይነ:ርግብ), while the innermost border contains an interlace design (zig-zag, ባለባመድ) evocative of the illuminated haräg within the manuscript. The interior blind tooling of the front cover is obscured by a Watson Library book plate, which indicates that the book was once housed on the library’s “Modern Art” shelf. Though it obscures the blind tooling on the interior cover leather, this book plate testifies to the history of the volume within the institution of the Metropolitan Museum of Art: after entering the library’s collection in 1895, it later moved to the Medieval Department in 1986, and to the Department of the Arts of Africa, Oceania, and the Americas (now the Michael C. Rockefeller Wing) in 1991. Along with an Ethiopian healing scroll (95.66), it is one of the earliest African objects to enter the Metropolitan’s collection. A luxury volume like this was typically enclosed in a leather pouch, which this volume retains.

A leather case (mahdar) was crafted from flat pieces of leather stitched and braided together to form a pouch with an accompanying cover that ingeniously slides up the case’s hanging strap, held in place by bands on either side. Most commonly pulled taut to the top of the cover to form a long strap, this feature allowed the book to be carried or hung for storage. The strap can also be pulled along the short side of the case to create a smaller handle. Books were typically hung from zebu horns secured into walls, stored underneath priests’ beds, or stacked in church treasuries. Tightly sealed leather cases simultaneously protected the precious volumes from water, dust, and insects.

Kristen Windmuller-Luna, 2016
Sylvan C. Coleman and Pam Coleman Memorial Fund Fellow in the Department of the Arts of Africa, Oceania, and the Americas

Further Reading
Selassie, Sergew Hable. Bookmaking in Ethiopia. Karstens Drukkers B.V, Leiden, 1981.
  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。