奇隆，斯巴达哲学家和议员 - 美国大都会艺术博物馆展品查阅

品名（中）	奇隆，斯巴达哲学家和议员
品名（英）	Chilon, Spartan Philosopher and Councilor
入馆年号	1951年，51.501.6335
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Jan Muller【1571 至 1628】【荷兰人】
创作年份	公元 1596
创作地区
分类	印刷品（Prints）
尺寸	页: 18 7/8 × 14 3/16 英寸 (47.9 × 36 厘米)
介绍（中）	在Jan Muller的这幅令人震惊的肖像画中，哲学家Chilon似乎准备从画面中跳出来。他手里拿着一面凸面镜，挤在画板上，看着外面的观众，头微微转开。奇隆是斯巴达城邦的哲学家和议员，也是希腊的七位圣人之一，七位哲学家、政治家和立法者在公元前六世纪初以其智慧而闻名。穆勒把他塑造成了一个怪诞的人物，用一条明显肿胀和逐渐变细的线来强调他脸上的疣和他疯狂卷曲的头发。他的镜子体现了他的座右铭"认识你自己"，这句话在椭圆形框架上的铭文中用希腊语和拉丁语重复出现三年前的1593年，穆勒雕刻了一幅哈波克拉底人的肖像，这位沉默之神（登录号51.501.6334），也比生命稍大，呈椭圆形框架。他很可能打算将这两幅版画作为一对，或者作为从未完成的古代肖像系列中的前两幅版画。在风格和主题上，Harpocrates和Chilon源自亨德里克·戈尔齐乌斯（Hendrick Goltzius）和他的学校的"幻想肖像"。它们是历史或神话人物的钢笔画，以大胆的笔触描绘，模仿雕刻的起伏线条。在这里，穆勒将这种习惯主义者模糊不同媒介之间界限的偏好更进一步，他创作了模仿版画的版画。
介绍（英）	The philosopher Chilon seems ready to burst out of the frame in this in this startling portrait by Jan Muller. He holds a convex mirror in his massive hands, crowding the picture plane, and turns his head slightly away as he looks out at the viewer. Chilon was a philosopher and councilor in the city-state of Sparta and one of the Seven Sages of Greece – seven philosophers, statesmen and lawgivers who were known for their wisdom in the early sixth century BCE. Muller has made him into a grotesque figure, using a dramatically swelling and tapering line, to emphasize the warts on his face and his wildly curling hair. His mirror embodies his motto, "know thyself," a phrase repeated in Greek and Latin in the inscriptions on the oval frame. Three years earlier, in 1593, Muller had engraved a portrait of the Harpocrates, the god of silence (accession no. 51.501.6334), also slightly larger than life and in an oval frame. He most probably intended the two engravings as a pair, or as the first two prints in a never completed series of portraits from antiquity. In style and subject matter, Harpocrates and Chilon derive from "fantasy portraits" by Hendrick Goltzius – the foremost Mannerist printmaker, to whom Muller may have been apprenticed -- and his school. They were pen drawings of historical or mythological figures, rendered in bold strokes mimicking the swelling and tapering lines of engravings. Here Muller has taken this mannerist predilection for blurring the lines between different media a step further, by creating engravings that emulate drawings that imitate engravings.