带狮鹫的斑块 - 美国大都会艺术博物馆展品查阅

品名（中）	带狮鹫的斑块
品名（英）	Plaque with griffin
入馆年号	1958年，58.31.5
策展部门	古代近东艺术（Ancient Near Eastern Art）
创作者
创作年份	公元前 800 - 公元前 600
创作地区
分类
尺寸	1.85 英寸 (4.7 厘米)
介绍（中）	这小块象牙以低浮雕雕刻，上面刻着狮鹫的形象，这是一种奇妙的生物，将狮子的身体与猛禽的头部结合在一起，描绘有或没有翅膀。狮鹫将前腿放在一种植物状的形状上，这种形式从地面线上升并抬起头，也许是为了在植物的上部吃草，这最初可能被描绘在左侧相邻的牌匾上。像这样的雕刻象牙件在公元前一千年早期被广泛用于生产精英家具。它们通常使用细木工技术和胶水镶嵌在木框架中，并且可以用金箔覆盖或镶嵌彩色玻璃或石片，以创造闪闪发光的表面和鲜艳色彩的耀眼效果。雕刻的象牙牌匾上经常描绘格里芬啃食植物，包括三件保存完好的尼姆鲁德风格各异的作品，这些作品也被大都会博物馆收藏（60.145.6，61.197.1，64.37.9）。尼姆鲁德的宫殿和储藏室由亚述国王阿舒尔纳西尔帕尔二世建造，存放了数千件雕刻象牙。大多数象牙用作家具镶嵌物或小贵重物品，如盒子。虽然其中一些雕刻的风格与西北宫殿墙壁上的大型亚述浮雕相同，但大多数象牙都展示了与北叙利亚和腓尼基城邦艺术相关的图像和风格。腓尼基风格的象牙的特点是使用与埃及艺术相关的图像，例如狮身人面像和戴法老王冠的人物，以及使用精致的雕刻技术，例如镂空和彩色玻璃镶嵌。北叙利亚风格的象牙倾向于以更动态的构图描绘更粗壮的人物，雕刻成实心牌匾，添加的装饰元素较少。但是，有些作品不容易融入这三种风格中的任何一种。大多数象牙可能是亚述国王从附庸国收集的贡品，以及被征服的敌人的战利品，而有些可能是在尼姆鲁德的作坊中制造的。为这些物品提供原材料的象牙几乎可以肯定来自非洲大象，从埃及南部的土地进口，尽管大象确实居住在叙利亚的几个河谷，直到公元前八世纪末被猎杀灭绝。
介绍（英）	This small piece of ivory is carved in low relief with the image of a griffin, a fantastic creature that combines the body of a lion with the head of a bird of prey, depicted with or without wings. The griffin rests its forelegs on a plant-like form that rises from the ground line and lifts its head, perhaps to graze on the upper part of the plant, which could originally have been depicted on the adjacent plaque to the left. Carved ivory pieces such as this were widely used in the production of elite furniture during the early first millennium B.C. They were often inlaid into a wooden frame using joinery techniques and glue, and could be overlaid with gold foil or inlaid with colored glass or stone pieces to create a dazzling effect of gleaming surfaces and bright colors. Griffins nibbling on plants were frequently depicted on carved ivory plaques, including three well-preserved pieces in various styles from Nimrud which are also in the collection of the Metropolitan Museum (60.145.6, 61.197.1, 64.37.9). Built by the Assyrian king Ashurnasirpal II, the palaces and storerooms of Nimrud housed thousands of pieces of carved ivory. Most of the ivories served as furniture inlays or small precious objects such as boxes. While some of them were carved in the same style as the large Assyrian reliefs lining the walls of the Northwest Palace, the majority of the ivories display images and styles related to the arts of North Syria and the Phoenician city-states. Phoenician style ivories are distinguished by their use of imagery related to Egyptian art, such as sphinxes and figures wearing pharaonic crowns, and the use of elaborate carving techniques such as openwork and colored glass inlay. North Syrian style ivories tend to depict stockier figures in more dynamic compositions, carved as solid plaques with fewer added decorative elements. However, some pieces do not fit easily into any of these three styles. Most of the ivories were probably collected by the Assyrian kings as tribute from vassal states, and as booty from conquered enemies, while some may have been manufactured in workshops at Nimrud. The ivory tusks that provided the raw material for these objects were almost certainly from African elephants, imported from lands south of Egypt, although elephants did inhabit several river valleys in Syria until they were hunted to extinction by the end of the eighth century B.C.