家具牌匾上雕刻着一个男人抓着一棵树的浮雕；上方有翼太阳盘 - 美国大都会艺术博物馆展品查阅

品名（中）	家具牌匾上雕刻着一个男人抓着一棵树的浮雕；上方有翼太阳盘
品名（英）	Furniture plaque carved in relief with a male figure grasping a tree; winged sun disc above
入馆年号	1959年，59.107.6
策展部门	古代近东艺术（Ancient Near Eastern Art）
创作者
创作年份	公元前 800 - 公元前 700
创作地区
分类
尺寸	高 10 1/2 x 宽 4 1/2 x Th. 5/16 英寸 (26.7 x 11.4 x 0.8 厘米)
介绍（中）	与Nimrud的Ashurnasirpal II宫殿两侧的宏伟、风格化浮雕形成鲜明对比的是曾经装饰王室家具的精致装饰象牙。象牙在古代世界都很珍贵，在亚述帝国时期（约公元前883年至612年）被广泛使用。这种材料受到工匠的重视，因为它可以雕刻得如此精细。尽管现代人欣赏象牙表面的美丽，但这些雕刻品通常都覆盖着金箔。在尼姆鲁德发现的许多象牙都是作为战利品或贡品从附属国带到亚述西部的，那里的大象是当地人，象牙雕刻是一种由来已久的工艺。其他的无疑是亚述人作为俘虏带到首都的工匠雕刻的。当代铭文记录说，Ashurnasirpal从底格里斯西部的一座城市拿走了"覆盖着黄金的象牙沙发"，并接受了"象牙和覆盖着黄金和白银的象牙宝座"的贡品。英国人在挖掘尼姆鲁德遗址时发现了数千块象牙碎片。这些象牙被入侵的军队剥去了黄金覆盖物，因为价值不大而被丢弃叙利亚风格的象牙在叙利亚被发现，特别是在阿尔斯兰·塔什遗址以及美索不达米亚北部的亚述宫殿中。这种风格的作品既包括用于家具装饰的平板，也包括圆形盒子和小人物等三维物体。叙利亚风格的象牙雕刻的特点是人物比例敦实，椭圆形的脸上有小嘴和大眼睛，植物有长长的波浪茎，还有一个有翼的太阳盘，上面有下垂的蜗壳。与腓尼基象牙的对称组成不同，叙利亚的例子通常描绘一个完整填充牌匾表面的轮廓。裸体女性形象，留着精心卷曲的头发，戴着王冠，无论是单独雕刻还是成组雕刻，都是一个特别引人注目的主题。叙利亚风格的象牙主要制作于公元前九世纪和八世纪。这种象牙雕刻可能是椅子靠背上使用的一组类似面板之一。它描绘了一个留着胡子的男人，也许是一个战士，手里拿着一株莲花的茎。在他上方，有翼的圆盘提供保护。
介绍（英）	In contrast to the grand, stylized reliefs that flanked the walls of the palace of Ashurnasirpal II at Nimrud are the delicate ornamental ivories that once adorned royal furniture. Ivory, prized throughout the ancient world, was used extensively at the time of the Assyrian Empire (ca. 883–612 B.C.). The material was valued by craftsmen because it could be carved in such detail. Although modern tastes appreciate the beauty of an ivory surface, these carvings were often covered with gold foil. Many of the ivories found at Nimrud were brought as booty or tribute from the vassal states to the west of Assyria, where elephants were native and ivory carving was a long-established craft. Others were undoubtedly carved in Assyria by craftsmen brought as captives to the capital cities. Contemporary inscriptions record that Ashurnasirpal took "couches of ivory overlaid with gold" from a city on the western Tigris and received tribute of "elephant tusks and ivory thrones overlaid with gold and silver." Thousands of ivory fragments were discovered by the British in their excavations of the ruins of Nimrud. Stripped of their gold covering by invading armies, the ivories themselves were discarded as being of little worth. Syrian-style ivories have been found in Syria—particularly at the site of Arslan Tash—as well as in the Assyrian palaces of northern Mesopotamia. Works in this style include both flat panels used for furniture decoration and such three-dimensional objects as circular boxes and small figures. Syrian-style ivory carving is distinguished by the stocky proportions of the figures, oval faces with small mouths and large eyes, plants with a long wavy stem, and a winged sun disc with pendant volute curls. Unlike the symmetrical compositions of Phoenician ivories, Syrian examples often depict a single figure in profile that completely fills the surface of the plaque. Nude female figures wearing elaborately curled tresses and diadems, sculpted in the round either singly or in groups, are a particularly striking theme. Syrian-style ivories were made primarily during the ninth and eighth centuries B.C. This ivory carving would have been one of a group of similar panels used in the back of a chair. It depicts a bearded man, perhaps a warrior, holding the stem of a lotus plant. Above him, a winged disc provides protection.