斑块碎片 - 美国大都会艺术博物馆展品查阅

品名（中）	斑块碎片
品名（英）	Plaque fragment
入馆年号	1958年，58.31.8
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	0.91 x 0.55 x 0.14 英寸 (2.31 x 1.4 x 0.36 厘米)
介绍（中）	这块小小的象牙碎片原来是一块牌匾的一部分。在公元前一千年早期，象牙雕刻的牌匾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上，可以覆盖金箔，也可以镶嵌彩色玻璃或石头，以产生表面闪闪发光、颜色鲜艳的耀眼效果。这个碎片是由薄壁的雕刻细胞组成的，称为景泰蓝，上面填充了彩色镶嵌物，尽管这里没有留下它们的痕迹。公元前614年和612年亚述沦陷期间，尼姆鲁德的皇家建筑被洗劫一空，抢劫者剥去象牙家具上的黄金镶嵌物，留下碎片。这件作品可能是一朵花的一部分，这朵花构成了许多雕刻精美的镶嵌象牙的背景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，存放着数千件雕刻的象牙。象牙大多用作家具镶嵌物或盒子等小型贵重物品。虽然其中一些象牙的雕刻风格与西北宫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有关的图像和风格。腓尼基风格的象牙的特点是使用了与埃及艺术相关的图像，如狮身人面像和戴法老王冠的人物，以及使用了精细的雕刻技术，如透雕和彩色玻璃镶嵌。北叙利亚风格的象牙往往以更具活力的构图描绘更敦实的人物，雕刻成实心牌匾，添加的装饰元素较少。然而，有些单品不容易融入这三种风格中的任何一种。大部分象牙可能是亚述国王从诸侯国收集的贡品，以及被征服的敌人的战利品，而一些象牙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从埃及南部进口的非洲象，尽管大象确实栖息在叙利亚的几个河谷中，直到公元前八世纪末被猎杀灭绝。
介绍（英）	This small broken piece of ivory was originally part of a plaque. Carved ivory plaques 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. This fragment is made up of thin-walled carved cells, called cloisons, that were filled with colored inlays, although no traces of them remain here. When the royal buildings at Nimrud were sacked during the fall of Assyria in 614 and 612 B.C., looters stripped the gold inlay from the ivory furniture and left the broken pieces behind. This piece was probably part of a flower, which formed the background of many ornately carved inlaid ivories. 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.