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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)王母吊坠面具:Iyoba
品名(英)Queen Mother Pendant Mask: Iyoba
入馆年号1978年,1978.412.323
策展部门迈克尔·洛克菲勒之翼The Michael C. Rockefeller Wing
创作者Edo artist
创作年份公元 1500 - 公元 1600
创作地区尼日利亚(Nigeria)
分类骨骼/象牙雕刻(Bone/Ivory-Sculpture)
尺寸高 9 3/8 x 宽 5 x 深 2 1/2 英寸 (23.8 x 12.7 x 6.4 厘米)
介绍(中)这个象牙色的挂饰面具是一对几乎一模一样的作品之一;它的对应品在伦敦的大英博物馆。尽管女性形象在贝宁的宫廷传统中很少见,但这两件作品象征着一个延续至今的王朝的遗产。吊坠面具被认为是16世纪初为贝宁国王或ObaEsigie制作的,以纪念他的母亲Idia。奥巴可能在纪念母亲的仪式上佩戴过它,尽管今天这种吊坠在每年的精神更新和净化仪式上都会佩戴

在贝宁,象牙与白色有关,白色是仪式纯洁的象征,与海洋之神奥洛昆有关。作为非凡财富和生育能力的源泉,奥洛昆是奥巴的精神对应者。象牙是围绕奥洛昆和欧巴的符号星座的中心。它不仅是白色的,而且本身就是贝宁的主要商业商品,它帮助吸引了葡萄牙商人,他们也为贝宁带来了财富

面具是一幅敏感的、理想化的肖像画,描绘了其主体的柔和造型,额头上有镶嵌的金属和雕刻的划痕,下巴下面戴着珊瑚珠带。镂空的头饰和衣领上雕刻着风格化的泥鱼和葡萄牙人的胡须脸。因为泥鱼既生活在陆地上,也生活在水中,所以泥鱼代表了国王的人与神的双重本性。葡萄牙人来自大洋彼岸,被认为是精神王国的居民,他们为欧巴带来了财富和权力

贝宁宫廷艺术的遗产:从悲剧到韧性

贝宁的中央集权城邦起源于讲江户语的民族。官方宫廷历史学家的描述和游客提供的描述唤起了一个充满活力的文化中心,它的领导层通过不断变化的内部和外部权力动态不断重新定义这个中心。根据大约1300年的口头传统,江户酋长据说已经联系了邻近的伊菲的领导人奥兰米扬,建立了一个新的神圣认可的皇家王朝。从那时起,贝宁统治者被授予奥巴斯头衔,同时赋予了他们在重要宗教仪式中主持仪式和主持精心设计的宫廷官员结构的首席牧师的角色。在15世纪奥巴·埃沃雷统治期间,贝宁军队成立,并用一堵巨大的墙加固了首都。与此同时,葡萄牙贸易商代表团竭力寻求与该地区最强大的政治领导人签订排他性商业条约。在1500年鼎盛时期,贝宁的权力延伸到东部的尼日尔三角洲和西部的拉各斯沿海泻湖。其主要出口的胡椒、纺织品和象牙被大量进口金属所交换。这种黄铜的流入导致了宫廷艺术家的创造力爆发,他们将其转化为宫殿的作品,从放置在皇家祭坛上的祖先肖像,到描绘欧巴、他的朝臣和外国对话者的装饰性牌匾。从最早的这种交流开始,这些欧洲人就委托江户雕刻师制作精美的象牙制品,作为国内王子的收藏品

近五百年来,贝宁的独立领导人与葡萄牙、荷兰和法国代理人牢固地建立了接触条件,并有效地代表了他们自己的利益。尽管大西洋奴隶贸易提出了要求,但几个世纪以来,他们的参与仅限于向葡萄牙人出售战俘。历史学家认为,这种情况只有在18世纪才发生变化,当时地区政治之间的竞争升级导致了对获得欧洲枪支的需求。在后来的时期,由于继承权纠纷和内战而产生的不稳定,通过用俘虏换取枪支而进一步加剧。十九世纪发生的一系列内部和外部事态发展影响了贝宁君主的地位和脆弱性。在奥巴·阿道罗的领导下,权力平衡似乎有利于更强大的酋长,在他的继任者奥文拉姆文执政的早期,激烈的世仇和煽动阴谋分裂了他们的队伍。这种转变表现在对欧巴仪式和仪式活动的日益重视,以及对超过宫殿的主要住宅的扩建。与此同时,贝宁周围正在发生重大变化:伊斯兰教在敌对的奥约州方兴未艾;基督教受到南约鲁巴人的拥护;废除奴隶贸易导致了伊塞基里君主制的灭亡;当地的英国官员越来越下定决心要破坏欧巴的权威

1897年英国入侵贝宁王国首都是1892年至1902年期间为将现代尼日利亚的大部分内陆领土强行纳入英国统治而发动的战役的一部分。随着英国对贝宁城的征服,奥巴·奥文拉姆文被流放到卡拉巴尔,士兵们洗劫了宫殿。从1300年到贝宁征服,每一个奥巴人的祭坛与为纪念他们而设计的特定作品永远脱钩。军事行动后,外交大臣将大约200件贝宁文物赠送给大英博物馆,其他文物则在国际艺术品市场上出售。除了经销商和私人收藏家,当时的主要客户是西方新成立的民族志博物馆。1913年Ovonramwen去世后,他的儿子Eweka II被恢复为英国保护国的一员,并优先考虑恢复贝宁城的艺术赞助。十九世纪以后
介绍(英)This ivory pendant mask is one of a pair of nearly identical works; its counterpart is in the British Museum in London. Although images of women are rare in Benin's courtly tradition, these two works have come to symbolize the legacy of a dynasty that continues to the present day. The pendant mask is believed to have been produced in the early sixteenth century for the King or ObaEsigie, the king of Benin, to honor his mother, Idia. The oba may have worn it at rites commemorating his mother, although today such pendants are worn at annual ceremonies of spiritual renewal and purification.

In Benin, ivory is related to the color white, a symbol of ritual purity that is associated with Olokun, god of the sea. As the source of extraordinary wealth and fertility, Olokun is the spiritual counterpart of the oba. Ivory is central to the constellation of symbols surrounding Olokun and the oba. Not only is it white, but it is itself Benin's principle commercial commodity and it helped attract the Portuguese traders who also brought wealth to Benin.

The mask is a sensitive, idealized portrait, depicting its subject with softly modeled features, bearing inlaid metal and carved scarification marks on the forehead, and wearing bands of coral beads below the chin. In the openwork tiara and collar are carved stylized mudfish and the bearded faces of Portuguese. Because they live both on land and in the water, mudfish represent the king's dual nature as human and divine. Having come from across the seas, the Portuguese were considered denizens of the spirit realm who brought wealth and power to the oba.

The Legacy of Benin Court Art: From Tragedy to Resilience

At its origins, the centralized city-state of Benin was founded by Edo-speaking peoples. The accounts by official court historians and descriptions provided by visitors evoke a vibrant cultural center continually redefined by its leadership through shifting internal and external power dynamics. According to oral tradition, circa 1300, Edo chiefs are reputed to have reached out to the leader of neighboring Ife, Oranmiyan, to establish a new divinely sanctioned royal dynasty. Since then, the investiture of Benin’s rulers to the title of obas has conferred upon them at once a role of chief priest officiating in important religious ceremonies and presiding over an elaborate structure of palace officials. During the fifteenth century reign of Oba Ewuare, Benin’s armies were formed and the fortification of its capital with a massive wall undertaken. In parallel, delegations of Portuguese traders assiduously sought to secure exclusive commercial treaties with this leader of the region’s most powerful polity. At its height in 1500, Benin’s authority extended to the Niger delta in the east and to the coastal lagoon of Lagos in the west. Its major exports of pepper, textiles, and ivory were exchanged for copious quantities of imported metals. This access to an influx of brass led to an explosion of creativity by court artists who transformed it into works for the palace ranging from ancestral portraits, positioned on royal altars, to decorative plaques depicting the oba, his courtiers, and foreign interlocutors. From the earliest such exchanges, those Europeans commissioned exquisite ivory artifacts from Edo carvers for princely collections back home.

For nearly five hundred years, Benin’s independent leaders firmly established the terms of engagement with Portuguese, Dutch, and French agents and effectively represented their own interests. Despite the demands of the Atlantic Slave trade, for centuries they limited their participation to selling prisoners of war to the Portuguese. Historians have suggested that this only changed during the eighteenth century when escalation of contests among regional polities created a demand for access to European firearms. During that later period instability engendered by disputes over succession and civil war was further fueled through the exchange of captives for firearms. A number of internal and external developments that followed in the nineteenth century impacted the standing and vulnerability of Benin’s monarchs. Under Oba Adolo, the balance of power appears to have favored the more powerful chiefs and by the early years of his successor Ovonramwen’s reign, bitter feuds and seditious conspiracies divided their ranks. This shift was manifest in the increased emphasis on the oba’s ceremonial and ritual activities and the aggrandizement of chiefly residences that outstripped the palace. Concurrently significant changes were unfolding around Benin: Islam was in the ascendant in the rival state of Oyo; Christianity was embraced by the southern Yoruba; abolition of the slave trade was leading to the demise of the Itsekiri monarchy; and local British officials were increasingly determined to undermine the oba’s authority.

The British invasion of the capital of the Kingdom of Benin in 1897 was part of a campaign waged from 1892 through 1902 to forcibly bring most of the inland territory of modern-day Nigeria under British rule. With the British conquest of Benin City, Oba Ovonramwen was exiled to Calabar and soldiers plundered the palace. The brutality of the removal of its contents has forever decoupled altars dedicated to each individual oba dating from 1300 to Benin’s conquest with the specific works conceived to commemorate them. Directly following the military action some 200 Benin artifacts were given to the British Museum by the Secretary of State for Foreign Affairs while others were sold on the international art market. In addition to dealers and private collectors the major clientele at this time were newly established ethnographic museums in the West. Following Ovonramwen’s death in 1913, his son Eweka II was restored to the office within a British protectorate and prioritized a renewal of artistic patronage in Benin City. Subsequent to the nineteenth century dispersal of Benin works, awareness of their extraordinary aesthetic power, beauty, and complexity profoundly influenced Black public intellectuals. Notable among these in the U.S. were W.E.B. Dubois, Alain Locke and artists from the Harlem Renaissance on. At the same time, their relegation to ethnographic museums during the colonial era continues to reflect the legacy of their forceful removal and segregation from comparable cultural achievements by Western creators.

In 1950 a selection of Benin works were transferred through sale, exchange, and donation from the British Museum to what is today Nigeria’s National Commission for Museums and Monuments for display in Benin City and Lagos. In 1960 with the establishment of the Federation of Nigeria as a nation, Benin City became the capital of Edo State. Exemplars of this tradition today conserved at the Metropolitan Museum of Art were given to this institution in 1969 and 1991 by individuals who acquired them on the international art market to at once make them accessible to the public and celebrate their excellence. In 2016 Oba Ewuare II assumed the title of Benin’s current oba. He has noted that while such works "have come to serve as ambassadors of our culture around the world," a priority is the building of a new museum devoted to this legacy in Benin City. Designed by David Adjaye, this major cultural initiative embedded in the very fabric of the ancient city walls promises to afford expanded opportunities to understand and reflect on the significance of this living tradition at its source as well as those for international collaboration.
  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。