十字军骑士的中国剑

十字军骑士的中国剑
A Crusader's Sword: Concerning the Effigy of Jean d'Alluye
一把十字军的剑：有关于Jean d'Alluye的（石）雕像

Curator Emeritus, Arms and Armor, The **politan Museum of Art
美国大都会艺术馆军械馆退休馆长 HELMUT NICKEL


in the Gothic
Chapel at The Cloisters, the armored gisant
of Jean d'Alluye from the Abbey of La
Clarte-Dieu, which he founded in 1239 and where
he was entombed about 1248,
could well serve as the
almost perfect illustration of a knight's equipment
in the classical age of chivalry (Figure i).'
在LaClarte-Dieu哥特式修道院的礼堂内静卧着Jean d'Alluye的坟墓石雕像，
建造于1239年，埋葬在1248年。是骑士时代骑士装备的绝好佐证（图 1）

Jeand'Alluye wears a long-sleeved mail shirt with hood
and mittens in one piece; the hood, or coif, has been
let down to rest on his shoulders. His hands, devoutly
joined in prayer, emerge through slits at the
wrists of the sleeves, leaving the mittens dangling.
Spurs, the distinguishing mark of the knight, are
buckled over the mail chausses covering his legs.
Over his mail shirt he wears a surcoat, split open in
front for an easier seat in the saddle, and belted at
the waist with a narrow girdle. A matching wide
sword belt is pulled aslant by the weight of the
sword and hangs lower at the hips. His triangular
shield, large enough to cover a man's entire left side
from eyes to knee, rests against his left leg.

Jeand'Alluye 穿着长袖带帽子的锁子甲，和完整的手套
（此处省略描述正宗中世纪骑士装备的文字描述若干）

All these elements are what would be expected in
the equipment of a knight of the first half of the
thirteenth century. However, the hilt of his sword,
as it shows above the rim of the shield, has a compact
guard and a trilobate pommel totally different
from the fairly standardized cruciform hilts in use
in Western Europe at this period (Figures 2, 3).

所有这些都是这些都是符合13世纪前半叶骑士装备的预期的基础。
然而，盾牌边缘上方显示出来的剑的手柄，紧密结合在一起
的三部分结合刀首与同时期西欧所通常采用的十字刀柄完全不同。
（图2/3）

The hilt of such a knightly sword consisted of
three elements: a slender guard, with long,
straight-or, at the most, very gently downcurving-
quillons; a tubular wooden grip, covered with
leather and sometimes reinforced with straps or
wire wound spirally round or in a crisscrossing pattern;
and finally a pommel of iron or bronze as a
counterweight to balance the long blade.
The tip ofthe tang was hammered down on top of the pommel

这把骑士剑的剑柄由三部分构成，细长的档手，
略显外弧的管状木制手柄，包覆有皮革再用线绳
以十字交叉的形式缠绕在外围，
铜制或者是铁制的刀首起控制剑身平衡的作用
刀茎和刀首很坚固的铆接在一起。


The **politan Museum of Art 1991
**politan Museum Journal 26
to rivet the hilt firmly together. Thirteenth-century
pommels mostly had the shape either of a disk or a
more or less pointed oval (Figures 4, 5).2 If in an
exceptional case, such as the sword on the incised
tomb slab of Jaquelin de Ferriere, a trilobate pommel
can be found, it is clearly only a scalloped variant
of the disk-shaped pommel and is invariably
associated with a guard of long, straight quillons
(Figure 6).
By contrast, Jean d'Alluye's sword has a trilobate
pommel, molded in relief almost like a budding
flower, with a central bulbous element emerging between
two outward-turning scrolls; its grip is
wrapped in an intricate pattern of interlooping
straps, and instead of true quillons its rather massive
guard has sharply sloping shoulders ending in
tiny upward-curling finials. Its unusual appearance
raises the question whether this sword is of non-
European, possibly Oriental, origin.
Of Jean d'Alluye, Seigneur de Chateaux, Chenu,
Saint-Christophe, Meon, and Noyant, it is known
that he took the cross and went to the Holy Land in
1241. He returned home three years later, in 1244,
bringing with him a relic of the True Cross, a present
from the bishop of Hiera Petra-a Greek see
on Crete-which he devoutly donated to the abbey
of La Boissiere. About four years later, Jean
d'Alluye died and was laid to rest under his effigy in
his abbey of La Clarte-Dieu, near Le Mans. It is
quite possible that his sword, so carefully represented
on his gisant, was also a cherished possession
brought back from Outremer.
However, it is not likely that this sword was forged
at Damascus or one of the other renowned swordmaking
centers of the Islamic world. Despite the
popular image of the cruciform swords of the
knights of the Cross clashing with the crescentshaped
scimitars of the warriors of Islam, in the
thirteenth century the Saracens did indeed fight
with straight double-edged swords. Nonetheless,

（以下省略内容为此剑与同时期欧洲剑以及阿拉伯剑的对比区别。

对于已故主人可以能获得此剑的推测，以及此剑流落至欧洲可能性的假设）

Though Jean d'Alluye has for his sword a scabbard
and a sword belt in the Western European style
(cf. Figure 3), and presumably of European workmanship,
the sword itself must have come from the
other end of the known world, faraway China.
Whether it was traded peacefully along the ancient
Silk Road, or was carried by a raider in the
conquering hordes of the Mongols,12 whether Jean
d'Alluye acquired it as an exotic collector's item in
the bazaar of some Levantine port, or took it as
booty on a Syrian battlefield, we will never know. In
any case, though, this extraordinary weapon was
important enough for him and his family to have it
faithfully portrayed for posterity on his effigy.

虽然 Jean d'Alluye 剑的剑鞘和剑背带都是西式的
和西式工艺但是剑本身一定是来自遥远世界的另一端-中国
不管是历经古代丝绸之路的和平交易还是由蒙古入侵者带入，
不管是Jean d'Alluye从港口的贸易市场收藏家手里取得
还是曾作为叙利亚战场上的战利品，我们永远无从知晓，
无论如何这件充满传奇色彩武器对于Jean d'Alluye本人
或是他的家族都是足够重要的。
以至于被忠实的在他的雕像上描绘出来以示其子孙后代。十字军骑士的中国剑
A Crusader's Sword: Concerning the Effigy of Jean d'Alluye
一把十字军的剑：有关于Jean d'Alluye的（石）雕像

Curator Emeritus, Arms and Armor, The **politan Museum of Art
美国大都会艺术馆军械馆退休馆长 HELMUT NICKEL


in the Gothic
Chapel at The Cloisters, the armored gisant
of Jean d'Alluye from the Abbey of La
Clarte-Dieu, which he founded in 1239 and where
he was entombed about 1248,
could well serve as the
almost perfect illustration of a knight's equipment
in the classical age of chivalry (Figure i).'
在LaClarte-Dieu哥特式修道院的礼堂内静卧着Jean d'Alluye的坟墓石雕像，
建造于1239年，埋葬在1248年。是骑士时代骑士装备的绝好佐证（图 1）

Jeand'Alluye wears a long-sleeved mail shirt with hood
and mittens in one piece; the hood, or coif, has been
let down to rest on his shoulders. His hands, devoutly
joined in prayer, emerge through slits at the
wrists of the sleeves, leaving the mittens dangling.
Spurs, the distinguishing mark of the knight, are
buckled over the mail chausses covering his legs.
Over his mail shirt he wears a surcoat, split open in
front for an easier seat in the saddle, and belted at
the waist with a narrow girdle. A matching wide
sword belt is pulled aslant by the weight of the
sword and hangs lower at the hips. His triangular
shield, large enough to cover a man's entire left side
from eyes to knee, rests against his left leg.

Jeand'Alluye 穿着长袖带帽子的锁子甲，和完整的手套
（此处省略描述正宗中世纪骑士装备的文字描述若干）

All these elements are what would be expected in
the equipment of a knight of the first half of the
thirteenth century. However, the hilt of his sword,
as it shows above the rim of the shield, has a compact
guard and a trilobate pommel totally different
from the fairly standardized cruciform hilts in use
in Western Europe at this period (Figures 2, 3).

所有这些都是这些都是符合13世纪前半叶骑士装备的预期的基础。
然而，盾牌边缘上方显示出来的剑的手柄，紧密结合在一起
的三部分结合刀首与同时期西欧所通常采用的十字刀柄完全不同。
（图2/3）

The hilt of such a knightly sword consisted of
three elements: a slender guard, with long,
straight-or, at the most, very gently downcurving-
quillons; a tubular wooden grip, covered with
leather and sometimes reinforced with straps or
wire wound spirally round or in a crisscrossing pattern;
and finally a pommel of iron or bronze as a
counterweight to balance the long blade.
The tip ofthe tang was hammered down on top of the pommel

这把骑士剑的剑柄由三部分构成，细长的档手，
略显外弧的管状木制手柄，包覆有皮革再用线绳
以十字交叉的形式缠绕在外围，
铜制或者是铁制的刀首起控制剑身平衡的作用
刀茎和刀首很坚固的铆接在一起。


The **politan Museum of Art 1991
**politan Museum Journal 26
to rivet the hilt firmly together. Thirteenth-century
pommels mostly had the shape either of a disk or a
more or less pointed oval (Figures 4, 5).2 If in an
exceptional case, such as the sword on the incised
tomb slab of Jaquelin de Ferriere, a trilobate pommel
can be found, it is clearly only a scalloped variant
of the disk-shaped pommel and is invariably
associated with a guard of long, straight quillons
(Figure 6).
By contrast, Jean d'Alluye's sword has a trilobate
pommel, molded in relief almost like a budding
flower, with a central bulbous element emerging between
two outward-turning scrolls; its grip is
wrapped in an intricate pattern of interlooping
straps, and instead of true quillons its rather massive
guard has sharply sloping shoulders ending in
tiny upward-curling finials. Its unusual appearance
raises the question whether this sword is of non-
European, possibly Oriental, origin.
Of Jean d'Alluye, Seigneur de Chateaux, Chenu,
Saint-Christophe, Meon, and Noyant, it is known
that he took the cross and went to the Holy Land in
1241. He returned home three years later, in 1244,
bringing with him a relic of the True Cross, a present
from the bishop of Hiera Petra-a Greek see
on Crete-which he devoutly donated to the abbey
of La Boissiere. About four years later, Jean
d'Alluye died and was laid to rest under his effigy in
his abbey of La Clarte-Dieu, near Le Mans. It is
quite possible that his sword, so carefully represented
on his gisant, was also a cherished possession
brought back from Outremer.
However, it is not likely that this sword was forged
at Damascus or one of the other renowned swordmaking
centers of the Islamic world. Despite the
popular image of the cruciform swords of the
knights of the Cross clashing with the crescentshaped
scimitars of the warriors of Islam, in the
thirteenth century the Saracens did indeed fight
with straight double-edged swords. Nonetheless,

（以下省略内容为此剑与同时期欧洲剑以及阿拉伯剑的对比区别。

对于已故主人可以能获得此剑的推测，以及此剑流落至欧洲可能性的假设）

Though Jean d'Alluye has for his sword a scabbard
and a sword belt in the Western European style
(cf. Figure 3), and presumably of European workmanship,
the sword itself must have come from the
other end of the known world, faraway China.
Whether it was traded peacefully along the ancient
Silk Road, or was carried by a raider in the
conquering hordes of the Mongols,12 whether Jean
d'Alluye acquired it as an exotic collector's item in
the bazaar of some Levantine port, or took it as
booty on a Syrian battlefield, we will never know. In
any case, though, this extraordinary weapon was
important enough for him and his family to have it
faithfully portrayed for posterity on his effigy.

虽然 Jean d'Alluye 剑的剑鞘和剑背带都是西式的
和西式工艺但是剑本身一定是来自遥远世界的另一端-中国
不管是历经古代丝绸之路的和平交易还是由蒙古入侵者带入，
不管是Jean d'Alluye从港口的贸易市场收藏家手里取得
还是曾作为叙利亚战场上的战利品，我们永远无从知晓，
无论如何这件充满传奇色彩武器对于Jean d'Alluye本人
或是他的家族都是足够重要的。
以至于被忠实的在他的雕像上描绘出来以示其子孙后代。