鳄鱼鸣笛和嘎嘎声 - 美国大都会艺术博物馆展品查阅

品名（中）	鳄鱼鸣笛和嘎嘎声
品名（英）	Crocodile whistle and rattle
入馆年号	1979年，1979.206.1143
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 700 - 公元 800
创作地区	墨西哥（Mexico）
分类	陶瓷乐器（Ceramics-Musical Instruments）
尺寸	高 2 x 宽 3 3/8 x 深 7 3/8 英寸 (5.1 x 8.5 x 18.7厘米)
介绍（中）	这个动物形态的陶瓷人物被手工建模成鳄鱼的形状。它既是一个哨子——气孔出现在动物的后腿前面，在它的脖子下面发现了一个通风口——和一个拨浪鼓——粘土颗粒在人物的前半部分。鳄鱼的眼睑从它长而上翘的鼻子上凸起，鼻孔圆圆，三颗三角形的牙齿从嘴巴的每一侧水平突出。像狗一样的耳朵从眼睛后面的头部背面伸出。它短而下蹲的腿从身体的下面伸出来。在两条前腿上，脚趾通过缺口和切割细节被勾勒出来。长而扁、宽的尾巴具有三角形凹口，复制了鳄鱼尾巴的锯齿形图案。表面装饰包括充满活力的靛蓝和粘土基颜料的洗涤，称为玛雅蓝，除了尾巴、腿、脚、耳朵、眼睛和牙齿外，它无处不在。人物的底面没有上漆，也没有装饰，尽管可以看到灼热/火云。切开的细节出现在眼睛下方，雕像的顶部覆盖着切开的交叉阴影线，可能是为了唤起生物身体的鳞片纹理。菱形块沿着鳄鱼身体后部以三条线排列，从眼睛之间（中央排）和耳朵后面（外排）开始。这些肿块暗示了沿着鳄鱼背侧突出的结节状鳞片。他们还参考了可可豆，玛雅雕塑家经常将其描绘成带有轴向切口的含片。展览历史 "火热池：玛雅与神话之海"。皮博迪埃塞克斯博物馆，马萨诸塞州塞勒姆。2010年3月27日至2010年7月18日。（然后前往德克萨斯州沃思堡的金贝尔艺术博物馆。2010年8月29日-2011年1月2日;圣路易斯艺术博物馆，密苏里州圣路易斯，2011 年 2 月 13 日至 2011 年 5 月 8 日）。 "我玛雅。"格拉西宫水疗中心，意大利威尼斯。1998年9月5日至1999年5月16日。出版历史 Finamore， Daniel and Stephen D. Houston 2010.火热池：玛雅与神话之海。马萨诸塞州塞勒姆：皮博迪·埃塞克斯博物馆和纽黑文：耶鲁大学出版社。 [第 72 页，第 228-229 页] 施密特、彼得、梅赛德斯·德拉加尔萨和恩里克·纳尔达。1998. 玛雅.米兰：里佐利/邦皮亚尼。[第515页，第12页]
介绍（英）	This zoomorphic ceramic figure has been hand-modeled into the form of a crocodile. It functions as both a whistle—air holes appear in front of the animal's rear legs on its underside, and an air vent is found underneath its neck—and a rattle—clay pellets are inside the front half of the figure. The crocodile has raised eyelids projecting from atop its long, upturned snout with round nostrils and three triangular teeth projecting horizontally from each side of his mouth. Flopped and flaring dog-like ears project from back sides of the head behind the eyes. Its short, squat legs splay out from the underside of the body. On the two forelegs, toes have been delineated through notched and incised detail. The long, flat, wide tail features triangular notches replicating the zigzag pattern of a crocodilian tail. The surface decoration includes a wash of the vibrant indigo- and clay-based pigment known as Maya blue, which appears everywhere except the tail, legs, feet, ears, eyes, and teeth. The underside of the figure is unpainted and unadorned, although scorching/fire clouding are visible. Incised details appear below the eyes, and the top of the figurine has been covered with incised, crosshatched lines, probably meant to evoke the scaly texture of the creature's body. Lozenge-shaped lumps run in three lines down the back of the crocodile's body, beginning between the eyes (central row) and behind the ears (outer rows). These bumps allude to the nodule-like scales that protrude along the dorsal side of a crocodile. They are also referencing cacao beans, which Maya sculptors often portray as a lozenge with an axial incision. Exhibition History "FIERY POOL: The Maya and the Mythic Sea." Peabody Essex Museum, Salem, MA. March 27, 2010–July 18, 2010. (Then traveling to the Kimbell Art Museum, Fort Worth, TX. August 29, 2010-January 2, 2011; St. Louis Art Museum, St. Louis, MO. February 13, 2011–May 8, 2011). "I Maya." Palazzo Grassi spa, Venice, Italy. September 5, 1998–May 16, 1999. Publication History Finamore, Daniel and Stephen D. Houston 2010. FIERY POOL: Maya and the Mythic Sea. Salem, MA: Peabody Essex Museum and New Haven: Yale University Press. [Pl. 72, pp. 228–229] Schmidt, Peter, Mercedes de la Garza, and Enrique Nalda. 1998. MAYA. Milan: Rizzoli/Bompiani. [p. 515, Pl. 12]