女性头部 - 美国大都会艺术博物馆展品查阅

品名（中）	女性头部
品名（英）	Female head
入馆年号	1959年，59.107.13
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	3 1/4 × 1 11/16 × 1 1/2 英寸 (8.3 × 4.3 × 3.8 厘米)
介绍（中）	这颗雕刻的头像是在沙尔曼尼瑟堡的一个储藏室里发现的，沙尔曼尼瑟堡是尼姆鲁德的一座皇家建筑，用来存放亚述人在军事行动中收集的战利品和贡品。最初，这件作品可能是由各种材料制成并覆盖有金箔的复合小雕像的一部分。表面磨损严重，象牙在脸上垂直分裂。大眼窝旨在容纳彩色镶嵌物，假发中的矩形空腔也是如此，尽管这些不再存活。颈链的痕迹，这是古代近东艺术中女性佩戴的短项链，可以看到脖子上雕刻着浮雕。该人物的无胡须和项链表明这是女性描绘，尽管不清楚是女性还是神灵。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 carved head was found in a storage room in Fort Shalmaneser, a royal building at Nimrud that was used to store booty and tribute collected by the Assyrians while on military campaign. Originally, this piece may have been part of a composite statuette made of various materials and overlaid with gold foil. The surface is heavily worn and the ivory has split vertically down the face. The large eye sockets were intended to hold colored inlays, as were the rectangular cavities in the wig, although these no longer survive. Traces of a choker, a short necklace worn by women in ancient Near Eastern art, can be seen carved in relief on the neck. The figure’s beardlessness and the choker suggest this is a female depiction, although it is not clear whether a woman or a deity is represented. 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.