Jacob wresting the angel, Vienna Genesis발음듣기
Jacob wresting the angel, Vienna Genesis
[Steven] We're looking at one of the most important early manuscripts that has survived from the early Christian or Byzantine era.발음듣기
So the text is always on top and these illustrations are at the bottom. [Steven] This is really rare.발음듣기
Not only has it survived, but if you go back to the 6th century, there probably weren't that many books.발음듣기
[Nancy] All of the pages, which are made from animal skin, were made in a process that's similar to making leather but not tanned.발음듣기
And then all the pages were cut and ruled, and all of the text was written by hand and not in any way printed, using a press.발음듣기
[Steven] And in this particular case, the text is written in silver, which has now tarnished, so it's black.발음듣기
Writing in silver and gold and dying parchment purple was seen as a very ostentatious thing.발음듣기
And it's something that Saint Jerome, an early doctor of the church who translated the Bible into Latin, it's something he preached against as being very un-Christian and lacking humility.발음듣기
And we see a bridge. After they cross the river, Jacob becomes separated from his family and he meets a man.발음듣기
And he wrestles with the man and he wants the man, or is often interpreted to be an angel, to bless him.발음듣기
One thing that happened as a result of this story, is that the Old Testament patriarch Jacob, is no longer called Jacob but he's called Israel.발음듣기
But it's a more complex story, if one thinks about trying to convey the transformative aspect.발음듣기
I can almost imagine if that bridge was straightened out and this whole thing was unfurled, that this would make a perfect frieze, that could have been carved in stone.발음듣기
[Nancy] I see the artist trying to find a way to stretch this very linear narrative and make it fit the space of the book.발음듣기
Even though there is a sense that the figures on top are further away and the figures in the bottom are closer to us, but there is no differentiation in terms of size.발음듣기
We see one servant or a son looking off the bridge and looking at the water running down below.발음듣기
We see the form of her body underneath her drapery, which recalls more classical forms then the early Byzantine scene that we're looking at.발음듣기
[Steven] And we see clear references to the classical, even in the architecture of the bridge.발음듣기
But I love the playfulness and the malleability of the bridge, the way in which the artist has been able to warp it around, so that we're seeing both its front side and on the opposite side on the lower right.발음듣기
[Nancy] In a way it's very typical of early Christian or early Byzantine or late antique art, we can see that the sense of perspective is quite skewed.발음듣기
If we look at the columns on the farther end of the bridge, they're taller and bigger then the columns that are nearer to us, which is the opposite of linear perspective or rational perspective.발음듣기
And so we have these classical elements and these more realistic elements, and they are at odds or there's a tension with the more Byzantine elements or medieval elements.발음듣기
[Steven] Here's a moment where the physiciality of the figures, the sense that we really can understand their bodies below the cloth comes into play.발음듣기
These are two bodies that are going at each other and although it may have a spiritual aspect to it.발음듣기
[Nancy] And one of the details of the story, is that the angel touches Jacob's hip joint and we see that happening.발음듣기
What I can imagine is an individual from a royal household sitting down to read, perhaps in the evening and the silver letters would be reflecting and shimmery, almost mystical candlelight.발음듣기
칸아카데미 더보기더 보기
-
Mathematics: Sizes of infinity part 2: Gettin...
65문장 100%번역 좋아요2
번역하기 -
34문장 100%번역 좋아요0
번역하기 -
109문장 100%번역 좋아요4
번역하기 -
Sherrie Levine, Untitled (After Edward Weston...
60문장 100%번역 좋아요0
번역하기