双联图标吊坠 - 美国大都会艺术博物馆展品查阅

品名（中）	双联图标吊坠
品名（英）	Double Diptych Icon Pendant
入馆年号	1997年，1997.81.1
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 1700 - 公元 1800
创作地区	埃塞俄比亚（Ethiopia）
分类	木画（Wood-Paintings）
尺寸	Open, mounted: 高 3 3/4 × 宽 6 × 深 5 1/2 英寸 (9.5 × 15.2 × 14 厘米)
介绍（中）	在十七世纪，埃塞俄比亚艺术家越来越多地接触到来自欧洲的表达形式。在此期间，双面双联画在贵族中流行起来，作为悬挂在脖子上的绳索悬挂的吊坠图标。这个例子中描述的主题是这种类型的个人图标的标准程序，复杂的雕刻十字形设计增强了保护盖的外表面。这个圣像是 17 世纪后期在贡德尔发展起来的绘画风格的经典例子，贡德尔是法西拉达斯国王（1632-67 年在位）建立首都的贸易中心。正面描绘略微转头和简单、标志性的手势，人物叠加在中性背景上。身体用粗黑色轮廓勾勒，而面部则由粉红色和橙色的平坦区域组成。弯曲的线条和衰减的弧线被用来唤起垂坠的长袍和披风的褶皱。双面吊坠包含四个描绘基督教主题的彩绘表面。在主面板的一侧，圣母玛利亚似乎坐着，抱着基督，两侧是携带剑的大天使。圣婴握住福音书，做出祝福的手势，慈爱地凝视着他的母亲，母亲又凝视着观众。在外面板（盖子的内表面）上，圣乔治出现在马背上屠龙。这种圣徒的组合在埃塞俄比亚的宗教绘画中非常受欢迎，并有助于强调圣母玛利亚和圣乔治之间的密切关系，圣乔治是上帝的士兵，是她不变的伴侣。圣像的另一面描绘了十字架，玛丽和圣约翰悲伤地站在基督的两侧。外面板描绘了复活，其中一位不朽的基督用手臂举起亚当和夏娃的矮小人物。基督右边的胜利旗帜表明了对死亡的胜利。
介绍（英）	In the seventeenth century, Ethiopian artists were increasingly exposed to forms of expression from Europe. During this period, double-sided diptychs became popular among the nobility as pendant icons worn suspended by a cord around the neck. The subject matter depicted on this example is a standard program for this genre of personal icon, as are the intricately carved cruciform designs that enhance the exterior surfaces of the protective covers. This icon is a classic example of the painting style developed during the late seventeenth century at Gondar, the trading center where King Fasiladas (r. 1632–67) established his capital. Portrayed frontally with slightly turned heads and simple, iconic gestures, the figures are superimposed upon neutral backgrounds. Bodies are delineated with thick black outlines, while faces are composed of flat areas of pink and orange. Curving lines and attenuated arcs are employed to evoke the folds of draped robes and mantles. The double-sided pendant contains four painted surfaces depicting Christian subject matter. On one side of the main panel, the Virgin Mary appears seated, holding Christ and flanked by archangels carrying swords. Grasping the Book of the Gospel and making a gesture of benediction, the Christ Child gazes lovingly at his mother, who in turn stares out toward the viewer. On the outer panel (the interior surface of the cover), Saint George appears on horseback slaying the dragon. This combination of saints was extremely popular in Ethiopian religious painting, and served to emphasize the close relationship between the Virgin Mary and Saint George, the soldier of God who was her constant companion. The opposite side of the icon illustrates the Crucifixion, with Mary and Saint John standing sorrowfully to either side of Christ. The outer panel illustrates the Resurrection, in which a monumental Christ raises the diminutive figures of Adam and Eve by their arms. A flag of victory to Christ's right indicates this triumph over death.