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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)带多人物场景的耳饰
品名(英)Earflare with Multifigure Scene
入馆年号1991年,1991.419.67
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 1350 - 公元 1470
创作地区秘鲁(Peru)
分类金属装饰品(Metal-Ornaments)
尺寸高 5 3/8 × 宽 5 3/8 × 深 5 英寸 (13.7 × 13.7 × 12.7 厘米)
介绍(中)耳饰是古代安第斯山脉宫廷王权的重要组成部分,至少从公元前一千年到十六世纪西班牙人到来。在前西班牙时期后期,一些最壮观的例子是在秘鲁北海岸莫切山谷的奇穆帝国首都Chan Chan制作的。这对耳池在每个装饰品上都具有几乎相同的成分。主要人物,可能是十六世纪西班牙文本中被称为cacique或领主的政治领袖的描绘,戴着一个大的新月形头饰,站在一个垃圾上(一种用于携带一个或多个个人的交通工具),由两个身材较小但头饰较小的人物高高地出生。领主本人戴着大圆耳饰,中央有一个老板和装饰的边框。他的束腰外衣是西班牙前安第斯山脉晚期的主要男性服装,穿在缠腰布上,饰有流苏或图案边框。他一只手拿着烧杯,另一只手拿着扇子。第四个数字,比例仍然较小,显示在垃圾下方,紧邻领主下方。

领主复杂的头饰由一个阶梯元素组成,上面有一个令人印象深刻的两层徽章,代表羽毛,与他手中的新月形扇子相呼应,也可能由羽毛组成。二十世纪初在Chan Chan考古中发现了类似的头饰,这种类型也被描绘在其他金属作品中,例如现在丹佛艺术博物馆收藏的烧杯(入藏号1969.303;见Pillsbury,Potts和Richter 2017,第57号)。领主代表的所有组成部分——他更大的规模和在垃圾上的中心位置,以及他穿着和携带的王权——都说明了他的力量和重要性。垃圾和烧杯与北海岸的领导力密切相关(例如,参见MMA 1991.419.62; 1991.419.61)。垃圾的使用 - 在这里呈现为一个简单的酒吧,代表一个平台,两端终止于动物头 - 仅限于政治等级最高层的人,贵金属制成的容器是旨在调用神圣力量并将社区联系在一起的仪式的核心。十六世纪的资料记录了西班牙当局在殖民时期撤销这些特权时当地领主的强烈抗议。在一个耳池(MMA 1991.419.68)上,领主右手拿着烧杯,左手拿着扇子

;在它的伴侣(MMA 1991.419.67)上,领主左手拿着烧杯,右手拿着扇子。在综合格斗1991.419.68中,出席的人物正在向领主的右边(观众的左边)移动;在它的配偶上,他们移动到主的左边。按照莫切时代(公元200-850年)建立的惯例,耳池上的人物朝内,因此很可能在佩戴这对耳池时,垃圾携带者是。走向佩戴者。

抱着垃圾的两个人物以正面的脸和身体的轮廓显示。这些持有者有兰巴耶克地区特有的耳饰,更北(例如,参见MMA 1974.271.60)。其他细节也揭示了与该地区的联系:这个人物穿着简单的缠腰布,穿着普通的头巾,显示在垃圾下方,携带一个双嘴和桥瓶 - 一种与兰巴耶克密切相关的容器。奇穆人在十四世纪征服了这个地区,并将他们的许多传统——可能还有他们的许多金属匠——融入了他们在陈陈的宫廷中。 这些

复杂的耳饰是由切割和浮雕的金板制成的; 装订和焊接连接了这些部件。同样由金属板制成的微小空心球体环绕着凹盘。尽管它们的尺寸相当大,但耳池非常轻。大的空心轴 - 本来可以插入耳垂的部分 - 用凤头鸟的菱形图案设计追逐并焊接在额部的背面。当佩戴装饰品时,固定在正面镂空形状上的多个吊坠会移动,在耀眼的财富和权力展示中捕捉光线。

明尼阿波利斯艺术学院(Minneapolis Institute of Art)(入藏号43.4.1)现在有一对类似的耳池,在垃圾下方的附属人物的位置上有一只猴子。

Joanne Pillsbury,Andrall E. Pearson策展人,古代美洲艺术,2018年

参考文献和延伸阅读

Carcedo Muro de Mufarech,Paloma和Izumi Shimada。"黄金面具背后:来自秘鲁巴坦格兰德的西坎金器。"在《前哥伦布黄金的艺术:扬·米切尔收藏》(The Art of Precolumbian Gold: The Jan Mitchell Collection)中,朱莉·琼斯(Julie Jones)编辑,第60-75页。纽约:大都会艺术博物馆,1985年。

埃莱拉,卡洛斯· "面具背后的脸"。秘鲁:太阳和月亮王国,维克多·皮门特尔编辑,第 96-107 页。蒙特利尔: 蒙特利尔美术馆, 2013.

琼斯,朱莉。前哥伦布时期黄金的艺术:扬·米切尔收藏。纽约:大都会艺术博物馆,1985年。

琼斯、朱莉和海蒂·金。2002. "美洲的黄金。"大都会艺术博物馆通报59(4):1-59。

麦基,卡罗尔J.和乔安妮皮尔斯伯里。"兰巴耶克烧杯上的宇宙学和仪式。"在《前哥伦布世界的艺术:纪念弗雷德里克·R·迈耶的贡献》中,玛格丽特·杨-桑切斯编辑,第115-141页。丹佛: 丹佛艺术博物馆, 2013.

摩尔·杰里·D.和卡罗尔·J·麦基。"奇穆帝国。"在《南美考古学手册》(The Handbook of South American Archaeology)中,Helaine Silverman和William H. Isbell编辑,第783-807页。纽约:施普林格,纽约,2008年。

白邦瑞,乔安妮。"帝国光辉:印加人及其前辈的奢侈艺术。"在《黄金王国:古代美洲的奢侈品艺术》(Golden Kingdoms: Luxury Arts in the Ancient Americas)中,由Joanne Pillsbury、Timothy F. Potts和Kim Richter编辑,第33-43页。洛杉矶:保罗·盖蒂博物馆,2017年。

Pillsbury,Joanne,Timothy Potts和Kim N. Richter编辑黄金王国:古代美洲的奢侈品艺术。洛杉矶:J.保罗盖蒂博物馆,2017年。

岛田,泉。"西班牙前晚期沿海国家。"在《印加世界》(The Inca World)中,Laura L. Minelli编辑,第49-110页。诺曼: 俄克拉荷马大学出版社, 2000.

韦斯特拉托雷,卡洛斯。Chornancap:兰巴耶克文化宫。奇克拉约:秘鲁文化部长,2016年。
介绍(英)Ear ornaments were an important component of courtly regalia in the ancient Andes from at least the first millennium B.C. to the arrival of the Spaniards in the sixteenth century. Some of the most spectacular examples in the late pre-Hispanic period were made at Chan Chan, capital of the Chimú Empire, in the Moche Valley on Peru’s North Coast. This pair of earspools features nearly the same composition on each ornament. The principal figure, likely a depiction of political leader known as a cacique or lord in sixteenth-century Spanish texts, wears a large crescent headdress and stands on a litter (a type of conveyance used to carry an individual, or individuals), born aloft by two smaller-scale figures with similar, but smaller headdresses. The lord himself wears large round ear ornaments that have a central boss and decorated borders. His tunic—the primary male garment in the late prehispanic Andes, worn over a loincloth—is embellished with a fringe or patterned border. He holds a beaker in one hand and a fan in the other. A fourth figure, still smaller in scale, is shown below the litter, immediately underneath the lord.

The lord’s complex headdress consists of a stepped element surmounted by an impressive, two-tiered crest representing feathers, echoing the crescent-shaped fan in his hand, which was also likely composed of feathers. A similar headdress was found archaeologically at Chan Chan in the early twentieth century, and the type has also been depicted on other works in metal, such as a beaker now in the collections of the Denver Art Museum (accession number 1969.303; see Pillsbury, Potts, and Richter 2017, cat. no. 57). All of the components of the lord’s representation—his larger scale and central position on a litter, but also the regalia he wears and carries—speak to his power and importance. Litters and beakers were closely associated with leadership on the North Coast (see, for example, MMA 1991.419.62; 1991.419.61). The use of a litter--rendered here as a simple bar, representing a platform, terminating in an animal head at each end—was restricted to those at the very top of the political hierarchy, and vessels made of precious metals were at the heart of rituals designed to invoke divine powers and bind communities together. Sixteenth-century sources document the bitter outcry from local lords when Spanish authorities revoked these privileges in the colonial period.

On one earspool (MMA 1991.419.68), the lord holds the beaker in his right hand and the fan in his left; on its mate (MMA 1991.419.67), the lord holds the beaker in his left hand and the fan in his right. On MMA 1991.419.68, the attending figures are moving to the lord’s right (the viewer’s left); on its mate, they move to the lord’s left. Following a convention established in Moche times (A.D. 200–850), figures on earspools face inward, therefore it is likely that when this pair of earspools was worn, the litter bearers were. marching toward the wearer.

The two figures who hold the litter are shown with frontal faces and bodies in profile. These bearers have ear ornaments characteristic of the Lambayeque region, farther to the north (see, for example, MMA 1974.271.60). Other details also reveal a connection to that region: the figure attired in a simple loincloth and wearing a plain head-cloth, shown below the litter, carries a double-spout-and-bridge bottle—a type of vessel closely associated with Lambayeque. The Chimú conquered this region in the fourteenth century and incorporated many of their traditions—and likely many of their metalsmiths—into their court at Chan Chan.

These complex ear ornaments were created from gold sheet that was cut and embossed; stapling and soldering joined the pieces. Tiny hollow spheres, also made of sheet metal, encircle the concave disks. Despite their considerable size, the earspools are remarkably lightweight. The large hollow shafts—the part that would have been inserted through the earlobes—were chased with a diamond-pattern design of crested birds and soldered to the backs of the frontals. Multiple danglers secured to the cutout forms on the front would have moved when the ornaments were worn, catching the light in a dazzling display of wealth and power.

A similar pair of earspools now in the Minneapolis Institute of Art (accession number 43.4.1) features a monkey in the place of the subsidiary figure below the litter.

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. The Art of Precolumbian Gold: The Jan Mitchell Collection. New York: The Metropolitan Museum of Art, 1985.

Jones, Julie, and Heidi King. 2002. “Gold of the Americas.” The Metropolitan Museum of Art Bulletin 59 (4): 1–59.

Mackey, Carol J., and Joanne Pillsbury. “Cosmology and Ritual on a Lambayeque Beaker.” In Art of the Pre-Columbian World: Honoring the Contributions of Frederick R. Mayer, Margaret Young-Sánchez, ed., pp. 115-141. Denver: Denver Art Museum, 2013.

Moore Jerry D., and Carol J. Mackey. “The Chimú Empire.” In The Handbook of South American Archaeology, Helaine Silverman and William H. Isbell, eds., pp. 783-807. New York: Springer, New York, 2008.

Pillsbury, Joanne. “Imperial Radiance: Luxury Arts of the Incas 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.

Pillsbury, Joanne, Timothy Potts, and Kim N. Richter, eds. Golden Kingdoms: Luxury Arts in the Ancient Americas. Los Angeles: J. Paul Getty Museum, 2017.

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.

Wester La Torre, Carlos. Chornancap: Palacio de una gobernante y sacerdotisa de la cultura Lambayeque. Chiclayo: Ministerio de Cultura del Perú, 2016.
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