家具牌匾：鹰 - 美国大都会艺术博物馆展品查阅

品名（中）	家具牌匾：鹰
品名（英）	Furniture plaque: hawk
入馆年号	1937年，37.143.6
策展部门	古代近东艺术（Ancient Near Eastern Art）
创作者
创作年份	公元前 1800 - 公元前 1700
创作地区
分类
尺寸	4 7/16 × 9 7/16 × 1 1/16 英寸 (11.2 × 23.9 × 2.7 厘米)
介绍（中）	这件作品属于一组五块雕刻的象牙牌匾，可能是在安纳托利亚中部Acemhöyük的一座宫殿遗址发现的。最初，它们构成了一只张开翅膀的猎鹰，伸出爪子抓住羚羊。中央的牌匾形成了这只鸟的头部和身体，雕刻精细，显示了胸部的肿胀、游隼脸颊的风格化标记，以及带有镶嵌瞳孔孔的大眼睛，现在已经不见了。眼睛和喙上残留着镀金的痕迹。这块牌匾变色，表面有氧化铁的红色区域，灰色色调表明该物体可能在宫殿被毁期间暴露在相当大的热量下。对表面的扫描显示，在更强烈的红色区域有银的痕迹，尽管无法确定这是由于不再保存的金属覆盖层，还是由于埋葬过程中靠近银物体。头部顶部有一个孔用于连接另一个家具元件，底部有两个孔，可能用于连接缺失的腿。胸脯两侧的榫头固定着从大翅膀上伸出的榫头；在大都会博物馆的收藏中，只有一个原始的翅膀幸存下来。两块描绘羚羊被强有力的爪子抓住的小牌匾一定属于这样一个群体。虽然每个牌匾的底部都有两个洞，但没有可见的方法将它们连接到鸟的身体上。体型较大的羚羊表面呈浅粉红色，被黑色污渍变色，而体型较小的羚羊则呈红色，表面因燃烧而起泡。由于只有一块牌匾与这只猎鹰的比例合适，羚羊可能属于两种不同但相似的成分。这幅猛禽的图像让人想起埃及对荷鲁斯神的描绘，他是一只猎鹰。在这里，它已经从神圣的象征转变为猎人，用爪子抓住猎物，这可能源于近东的一个传统，在这个传统中，被称为Imdugud鸟的狮头鹰有时被描绘成用爪子抓着雄鹿。
介绍（英）	This piece belongs to a group of five carved ivory plaques probably found at the site of a palace at Acemhöyük in central Anatolia. Originally, they formed the composition of a falcon with outstretched wings grasping antelopes in its extended talons. The central plaque forms the head and body of the bird, finely carved to indicate the swelling of the breast, the stylized peregrine falcon cheek markings, and the large eyes with holes for inlaid pupils, now missing. Traces of gilding survive on the eyes and beak. The plaque is discolored with a combination of reddish areas, where iron oxides are present on the surface, and a gray hue that indicates the object was exposed to considerable heat, perhaps during the destruction of the palace. Scans of the surface revealed traces of silver in the more intensely red areas, although it cannot be determined whether this is due to a metal overlay that is no longer preserved or to the proximity of a silver object during burial. There is one hole in the top of the head for attachment to another furniture element and two on the bottom, probably for attachment to the missing legs. Mortises at the sides of the breast held the tenons that extended from the large wings; only one of the original wings survives in the Metropolitan Museum collection. Two small plaques depicting antelopes held by powerful talons must have belonged to such an ensemble. While there are two holes at the bottom of each plaque, there are no visible means by which to attach them to the bird’s body. The larger antelope has a light pink surface discolored by black stains, while the smaller is red with a surface that has bubbled from burning. As only one plaque is in proper proportion to this falcon, the antelopes probably belonged to two different but similar compositions. This image of a bird of prey recalls Egyptian depictions of the god Horus as a falcon. Here, it has been transformed from divine symbol to hunter, clasping prey in its talons, perhaps deriving from a Near Eastern tradition in which the lion-headed eagle known as the Imdugud bird is sometimes depicted with stags held in its talons.