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圣伊里耶半身圣骨盒

ca. 1220–40, with later grill
On view at The Met Fifth Avenue in Gallery 304
圣伊里耶的头骨曾经就放置在这个圣骨盒里,他是六世纪一座修道院的创始人,这座修道院坐落在里蒙日南部一个如今以他命名的小镇里。中世纪的里蒙日地区发展出一种以当地圣人的头像为外形的圣骨盒崇拜,这种特殊的崇拜方式一直延续至今。在节日期间,这类肖像会被带到游行队伍中穿过大街,然后放在圣坛上供信徒瞻仰。圣骨盒所使用的宝贵材料使人想起这位圣人属天的面容,他的头骨传达出他永恒的权威。

Artwork Details

Object Information
  • 标题: 圣伊里耶半身圣骨盒
  • 创作日期: 约1220–40年
  • 地域: 来自里蒙日附近的圣伊里耶-拉佩尔什教堂
  • 文化: 法国
  • 材料: 银,银鎏金,水晶石,宝石,玻璃
  • 尺寸: 15 x 91⁄4 x 101⁄4 英寸(38.1 x 23.4 x 26.1厘米)
  • 来源信息: J·皮尔蓬·摩根捐赠,1917年
  • 藏品编号: 17.190.352a, b
  • Curatorial Department: Medieval Art and The Cloisters

Audio

仅适用于: English
Cover Image for 3125. Reliquary Bust of Saint Yrieix

3125. Reliquary Bust of Saint Yrieix

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NARRATOR: Barbara Drake Boehm is a curator at the Museum.

BARBARA DRAKE BOEHM: This is the reliquary bust of Saint Yriex, a saint who is venerated in Central France in a little village that bears his name. Saint Yriex was a nobleman of the sixth century. He lived to an old age. He was not martyred and upon his death he left all of his possessions and his property …to this monastery. Now there in the thirteenth century they made this reliquary head.

If you were to go to the village now, you would see in fact a copy of this reliquary head. They have a copy there that has the original skull of St. Yriex that is the prized possession of the church. The reliquary bust in a sense functioned as a kind of spiritual ancestor for the community and would’ve played a very active role in the life of the monastery. On normal days, it would’ve been displayed on the altar of the monastery’s church. But on the Feast of Saint Yriex and other important occasions it would’ve been processed through the village of Saint Yriex, as it still is today.

You can see wonderful details that have been worked into this silver head by looking at the gilt eyebrows of this saint and his kind of five o’ clock shadow. And then he has a wonderful collar, and it’s done in a technique, which is called filigree, where tiny little wires of gilt silver are turned and twisted around in rather complicated floral patterns as a background then to large rock crystals that decorate his collar, and then angels put on either side.

At the top of his head, you see a kind of hinged door and that was a means of providing access to the relic itself, that is, the skull of the saint.

NARRATOR: To hear about how this reliquary was made, walk to the wooden core on the other side of the case. [PAUSE]

BARBARA DRAKE BOEHM: What we did was to take those sheets off and to mount them on another modern core so that you could see both pieces together and really get a sense of the sculptural quality of this piece, which is more than just goldsmiths’ work. It’s also Gothic sculpture.

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