王冠 - 美国大都会艺术博物馆展品查阅

品名（中）	王冠
品名（英）	Crown
入馆年号	1966年，66.196.13
策展部门	迈克尔·洛克菲勒之翼（The Michael C. Rockefeller Wing）
创作者
创作年份	公元 900 - 公元 1100
创作地区	秘鲁（Peru）
分类	金属装饰品（Metal-Ornaments）
尺寸	高 8 1/4 × 直径 7 1/4 英寸 (21 × 18.4 厘米)
介绍（中）	在巴坦格兰德（Batán Grande）的高级陵墓中，圆柱形王冠在中间逐渐变细，这是一处常见的陵墓。巴坦格兰德现在被称为西西里考古区（Sicán Archaeological Precinct），位于秘鲁北海岸现代城市奇克莱奥（Chiclayo）东北约40公里处的Santuario Histórico Bosque de Pómac。在这种情况下，它是由金属板制成的，由44%的金、32%的银和24%的铜组成，从后面（repausé）和前面加工成织物状的阶梯状菱形图案，包含在动物的上下轮廓中。床单的两端用金属花边连接起来，就像是一块布 Sicán陵墓位于巨大的泥砖平台深处，保存着几乎无法想象数量的贵重金属、贝壳和布料制成的物品。一个墓穴可能包含多达五个这样的王冠，其中一些带有精致的镂空装饰，而另一些，如本例，则展示了浮雕设计。通过在背景和边界上使用点画或针孔图案，在纸张正面使用冲头，可以进一步增强此处看到的阶梯状菱形。一条由波浪图案组成的垂直带，两侧有平坦的边界，这条带中断了皇冠两侧的钻石图案。王冠的上下边缘有一条生物带，尾巴卷曲，头部有冠，大开口，突出的圆形眼睛呈现出更高的浮雕。成对的形状不规则的穿孔，可能是用来连接羽毛或其他现已丢失的元素，位于上边界的几个地方阶梯状菱形在秘鲁北海岸的后期变得特别流行，在奇穆帝国首都ChanChan的建筑雕塑和印加时期的陶瓷上都可以看到 Joanne Pillsbury，Andrall E.Pearson策展人，《古代美洲艺术》，2018年参考文献和进一步阅读卡尔塞多·穆罗·德·穆法雷奇、帕洛玛和岛田伊久美。《黄金面具背后：来自秘鲁巴坦格兰德的Sicán黄金制品》，《柱前黄金艺术：Jan Mitchell收藏》，朱莉·琼斯主编，第60-75页。纽约：大都会艺术博物馆，1985年卡洛斯·G·埃莱拉（Elera，Carlos G.）《面具背后的面孔》，《秘鲁：太阳和月亮的王国》，维克多·皮门特尔（Victor Pimentel）主编，第96–107页。蒙特利尔：蒙特利尔美术博物馆，2013年。琼斯、朱莉和海蒂·金。2002年，"美洲的黄金"。大都会艺术博物馆公报59（4）：1–59。莱希特曼，希瑟。《安第斯冶金问题》，载于伊丽莎白·本森主编的《南美前哥伦布冶金》，第1-40页。华盛顿特区：邓巴顿橡树研究图书馆和收藏，1977年。乔安妮·皮尔斯伯里。"阅读艺术而不写作：解读Chimú建筑雕塑"，《艺术史对话，从美索不达米亚到现代：新世纪的阅读》，伊丽莎白·克罗珀主编，第72–89页。艺术史研究74。视觉艺术高级研究中心研讨会论文51。华盛顿特区：国家美术馆，2009年。皮尔斯伯里，乔安妮。《发光的力量：古代美洲的奢华艺术》，载于《金色王国：古代美洲奢华艺术》（Golden Kingdoms:Luxury Arts in the Ancient Americas），乔安妮·皮尔斯伯里（Joanne Pillsbury）、蒂莫西·F·波茨（Timothy F.Potts）和金·里希特（Kim Richter）主编，第1-13页。洛杉矶：J.Paul Getty博物馆，2017年。乔安妮·皮尔斯伯里。《帝国光辉：印加及其前身的奢华艺术》，载于《黄金王国：古代美洲的奢华艺术，乔安妮·皮尔斯伯里、蒂莫西·波茨和金·里希特编辑，第33-43页。洛杉矶：J.Paul Getty博物馆，2017年。岛田，泉。文化：Dios，riqueza和poder en la costa norte del Perú。利马：美洲教育与文化基金会，Edubanco，1995年。 Shimada，Izumi。《史前晚期沿海国家》，《印加世界》，劳拉·L·米内利主编，第49–110页。诺曼：俄克拉何马大学出版社，2000年。岛田、伊久美、乔·安·格里芬和阿东·戈杜斯。《金属的技术、图像和社会意义：中西西里天体的多维分析》，载于Colin McEwan主编的《柱前黄金：技术、风格和图像》，第28–61页。伦敦：大英博物馆，2000年。 Shimada，Izumi，编辑Cultura Sicán:Esplendor preicaico de la costa norte。加布里埃拉·塞万提斯翻译。利马：秘鲁会议编辑基金会，2014年。
介绍（英）	Cylindrical crowns that taper gently in the middle were common in high-status tombs at Batán Grande, a site now called the Sicán Archaeological Precinct, in the Santuario Histórico Bosque de Pómac, about 40 kilometers northeast of the modern city of Chiclayo on Peru’s North Coast. Made of sheet metal—in this case, an alloy of 44 percent gold, 32 percent silver, and 24 percent copper—it was worked from behind (repoussé) and from the front into a textile-like stepped-diamond pattern contained within an upper and lower border of animals in profile. The ends of the sheet were joined by metal lacing, as if it were a cloth. The Sicán tombs, located deep in monumental mudbrick platforms, held nearly unimaginable quantities of objects made of precious metal, shell, and cloth. A single tomb could contain as many as five such crowns, some featuring delicate openwork, and others, such as the present example, displaying repoussé designs. The repoussé stepped-diamond shapes seen here are further enhanced by stippling or pinhead patterning in the background and along the borders, achieved using a punch on the front of the sheet. A vertical band of wave motifs flanked by plain borders interrupts the diamond patterning on either side of the crown. The crown’s upper and lower borders contain a band of creatures with a curly tail, a crested head, a wide-open maw, and protruding, circular eyes rendered in higher relief. Pairs of irregularly shaped perforations, perhaps used to attach feathers or other elements now lost, are located in several places along the upper border. The stepped-diamond shape becomes particularly popular in later periods on Peru’s North Coast, and is seen in the architectural sculpture at Chan Chan, capital of the Chimú empire, and on Inca-period ceramics. Joanne Pillsbury, Andrall E. Pearson Curator, Arts of the Ancient Americas, 2018 References and Further Reading Carcedo Muro de Mufarech, Paloma, and Izumi Shimada. “Behind the Golden Mask: Sicán Gold Artifacts from Batán Grande, Peru.” In The Art of Precolumbian Gold: The Jan Mitchell Collection, edited by Julie Jones, pp. 60–75. New York: The Metropolitan Museum of Art, 1985. Elera, Carlos G. “The Face Behind the Mask.” In Peru: Kingdoms of the Sun and the Moon, edited by Victor Pimentel, pp. 96–107. Montreal: Montreal Museum of Fine Arts, 2013. Jones, Julie, and Heidi King. 2002. “Gold of the Americas.” The Metropolitan Museum of Art Bulletin 59 (4): 1–59. Lechtman, Heather. “Issues in Andean Metallurgy.” In Pre-Columbian Metallurgy of South America, edited by Elizabeth P. Benson, pp. 1–40. Washington, DC: Dumbarton Oaks Research Library and Collection, 1977. Pillsbury, Joanne. “Reading Art without Writing: Interpreting Chimú Architectural Sculpture.” In Dialogues in Art History, from Mesopotamian to Modern: Readings for a New Century, edited by Elizabeth Cropper, pp. 72–89. Studies in the History of Art 74. Center for Advanced Study in the Visual Arts Symposium Papers 51. Washington, DC: National Gallery of Art, 2009. Pillsbury, Joanne. “Luminous Power: Luxury Arts in the Ancient Americas.” In Golden Kingdoms: Luxury Arts in the Ancient Americas, edited by Joanne Pillsbury, Timothy F. Potts, and Kim Richter, pp. 1-13. Los Angeles: The J. Paul Getty Museum, 2017. Pillsbury, Joanne. “Imperial Radiance: Luxury Arts of the Inca and their Predecessors.” In Golden Kingdoms: Luxury Arts in the Ancient Americas, edited by Joanne Pillsbury, Timothy F. Potts, and Kim Richter, pp. 33-43. Los Angeles: The J. Paul Getty Museum, 2017. Shimada, Izumi. Cultura Sicán: Dios, riqueza y poder en la costa norte del Perú. Lima: Fundación del Banco Continental para el Fomento de la Educación y la Cultura, Edubanco, 1995. Shimada, Izumi. “The Late Prehispanic Coastal States.” In The Inca World, edited by Laura L. Minelli, pp. 49–110. Norman: University of Oklahoma Press, 2000. Shimada, Izumi, Jo Ann Griffin, and Adon Gordus. “The Technology, Iconography, and Social Significance of Metals: A Multi-Dimensional Analysis of Middle Sicán Objects.” In Precolumbian Gold: Technology, Style and Iconography, edited by Colin McEwan, pp. 28–61. London: British Museum, 2000. Shimada, Izumi, ed. Cultura Sicán: Esplendor preincaico de la costa norte. Translated by Gabriela Cervantes. Lima: Fondo Editorial del Congreso del Perú, 2014.