天蓬 - 美国大都会艺术博物馆展品查阅

品名（中）	天蓬
品名（英）	Canopy
入馆年号	2016年，2016.246
策展部门	修道院（The Cloisters）
创作者
创作年份	公元 1397 - 公元 1426
创作地区	制造于: 葡萄牙, 莱里亚, 巴塔利亚（Made in: Portugal, Leiria, Batalha）
分类	雕塑建筑石材（Sculpture-Architectural-Stone）
尺寸	20 7/8 × 19 1/2 × 13 3/4 英寸, 120 磅 (53 × 49.5 × 34.9 厘米, 54.4 kg)
介绍（中）	这个建筑天篷来自巴塔利亚的多米尼加圣玛丽亚达维多利亚修道院，葡萄牙哥特式建筑的主要纪念碑。为了纪念1385年与邻国卡斯蒂利亚的关键战役，这个皇家基金会是葡萄牙国王的万神殿。天篷装饰了修道院教堂宏伟的西门，最初是使徒的门框雕像。在19世纪后期，修复者用复制品取代了西门的大部分中世纪雕塑。树冠是离开巴塔利亚遗址的一小群原件之一。作为门户复杂，高质量雕刻的典范，它提供了对中世纪葡萄牙雕塑家的发明方法的见解。　　　一排简单的瓦屋顶建筑为这个原本华丽的物体增添了令人惊讶的补充。像这样的檐篷经常唤起他们装饰的宏伟结构的特征，但这个例子打破了惯例，承认了一种更谦逊的建筑。是什么启发了这一新增功能？也许它起源于作品大师 - 受过国际培训的Huguet大师 - 和他的雕塑家工作室。Huguet和他的团队创造性地采用了欧洲建筑和雕塑的前沿发展，用创新和意想不到的设计点缀了圣玛丽亚教堂。天篷的瓦片屋顶可能是由于这种对玩哥特式装饰惯例的持续兴趣造成的。他们甚至可以向当地风格的国内建筑致敬，即使在今天也融合了瓦屋顶。通过这样做，树冠似乎将教堂建筑描绘成一个充满熟悉的城市住宅的实际城市，通常被描述为天堂耶路撒冷的象征。
介绍（英）	This architectural canopy comes from the Dominican monastery of Santa Maria da Vitória, Batalha, a major monument of Portuguese Gothic architecture. Commemorating a pivotal 1385 battle against neighboring Castile, this royal foundation served as the pantheon of Portuguese kings. The canopy decorated the monastery church’s magnificent west portal, where it originally surmounted the jamb statue of an apostle. During the late 19th century, restorers replaced the majority of the west portal’s medieval sculptures with copies. The canopy is one of a small group of originals to have left the site of Batalha. Exemplary of the portal’s intricate, high-quality carving, it provides insight into the inventive approaches of sculptors in medieval Portugal. 　　　　　 A row of simple tile-roof buildings makes a surprising addition to this otherwise ornate object. Canopies like this one often evoked the features of the grand structures they decorated, yet this example breaks from convention in acknowledging a humbler kind of building. What inspired this addition? Perhaps it originates with the master of works – the internationally-trained Master Huguet – and his workshop of sculptors. Huguet and his team creatively adapted cutting-edge developments in European architecture and sculpture, embellishing the church of Santa Maria with innovative and unexpected designs. The canopy’s tile roofs may result from this sustained interest in playing with the conventions of Gothic ornament. They could even pay homage to local styles of domestic architecture, which incorporate tile roofs even today. In so doing, the canopy seems to portray the church building, often described as a symbol of the heavenly Jerusalem, as an actual city filled with familiar urban dwellings.