用咆哮的狮子头雕刻成圆形的家具元素 - 美国大都会艺术博物馆展品查阅

品名（中）	用咆哮的狮子头雕刻成圆形的家具元素
品名（英）	Furniture element carved in the round with the head of a roaring lion
入馆年号	1962年，62.269.1
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	高 3 3/4 x 宽 3 x 深 2 3/4英寸 (9.5 x 7.6 x 6.9厘米)
介绍（中）	这张残片的形状是一头咆哮的狮子的脸。它是在Shalmaneser堡的一个储藏室里发现的，这是Nimrud的一座皇家建筑，可能是用来存放亚述人在军事行动中收集的战利品和贡品的。公元前七世纪末，亚述最终战败，尼姆鲁德的皇家建筑群被洗劫并烧毁，此时狮子很可能因暴露在火中而变黑。平坦的背部表明，这件作品可能最初附着在一件木制家具上，比如椅子的扶手。右脸颊、眉毛和雕刻的枪口上都有雕刻的圆点，眼睛上雕刻着现已失传的半宝石或彩色玻璃镶嵌物。面部后部右侧保留了一个由凸起肋骨勾勒的白色三角形图案，可能是为了代表鬃毛。亚述宫殿的皇家浮雕上描绘了亚述国王猎杀狮子的场景。因为它有着相同的主题，所以这件作品被认为是亚述风格的作品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 fragmentary piece takes the form of the face of a roaring lion. It was found in a storeroom at Fort Shalmaneser, a royal building at Nimrud that was probably used to store booty and tribute collected by the Assyrians while on military campaign. During the final defeat of Assyria at the end of the seventh century B.C., the royal complexes at Nimrud were sacked and burned, and the lion was likely blackened through exposure to fire at this time. The flat back suggests that this piece may have originally been attached to a piece of wooden furniture such as the arm of a chair. The right cheek, eyebrows, and incised muzzle are detailed with incised dots and the eyes are deeply carved for now-lost semiprecious stone or colored glass inlays. A pattern of painted white triangles outlined with raised ribs is preserved on the right side at the back of the face, perhaps to represent a mane. Scenes of the Assyrian king hunting lions are depicted on royal reliefs from the Assyrian palaces. Because it shares the same subject matter, this piece has been attributed to an Assyrian style. 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.