边框条形图 - 美国大都会艺术博物馆展品查阅

品名（中）	边框条形图
品名（英）	Border strip
入馆年号	1958年，58.31.9
策展部门	古代近东艺术（Ancient Near Eastern Art）
创作者
创作年份	公元前 900 - 公元前 700
创作地区
分类
尺寸	0.79 x 2.4 英寸 (2.01 x 6.1 厘米)
介绍（中）	这片狭长地带的碎片上装饰着一排相连的圆形，称为海鸠图案，设置在由上下凸起边缘标记的边界内。在公元前一千年早期，像这样的象牙雕刻件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，以创造出闪闪发光的表面和明亮的颜色的耀眼效果。这条带子的背面有轻微的水平划痕，可能是为了帮助胶水将象牙的表面与另一个由木材或象牙制成的元素连接起来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 fragment of a narrow strip is decorated with an incised row of connected circles, called a guilloche pattern, set within a border marked by raised edges above and below. 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. This strip has light horizontal scratches on the back, probably to help the glue join the surface of the ivory to another element made out of wood or ivory. 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.