开放式家具牌匾上有一头正在哺乳小牛的奶牛 - 美国大都会艺术博物馆展品查阅

品名（中）	开放式家具牌匾上有一头正在哺乳小牛的奶牛
品名（英）	Openwork furniture plaque with a cow suckling a calf
入馆年号	1964年，64.37.3
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	1.73 x 3.19 x 0.59 英寸 (4.39 x 8.1 x 1.5 厘米)
介绍（中）	这块零碎的牌匾描绘了一头正在吮吸小牛的奶牛。这两种动物的小腿都是用腓尼基风格的透雕技术雕刻而成的。奶牛竖起的、切割的眉毛突出了一只原本镶嵌的眼睛。大耳朵和弯曲的角靠在上半身，形成浮雕。奶牛转过身来，低下了头，脸上刻着露珠，舔舐着她吮吸的小牛的尾巴。这两只动物的肋骨上都有浅切口。在叙利亚的阿尔斯兰·塔什发现的另一块具有相同主题的透雕象牙牌匾也在大都会博物馆的收藏中（MMA 57.80.5）。由亚述国王阿舒尔纳西尔帕尔二世建造，尼姆鲁德的宫殿和储藏室收藏了数千件雕刻的象牙。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 plaque depicts a cow suckling a calf. Carved in the openwork technique, characteristic of the Phoenician style, the lower legs of both animals do not survive. The cow’s raised, incised eyebrow accentuates an originally inlaid eye. Large ears and curved horns rest against the upper body in relief. The cow turns and lowers her head, detailed by carved dewlaps, licking the tail of the calf she suckles. Shallow incisions mark the ribs of both animals. Another openwork ivory plaque with the same motif found at Arslan Tash in Syria is also in the Metropolitan Museum’s collection (MMA 57.80.5). 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.