Contrapposto발음듣기
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Contrapposto
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[Voiceover] And if you think about the way that you stand, you generally, when you're relaxed, put all your weight on one leg.발음듣기
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[Voiceover] So, it's a standing pose that's relaxed and naturalistic, and you have your weight on one leg and the other leg is not weight-bearing.발음듣기
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Clearly, looking at these two images that we have on the screen, one of the figures is standing in contrapposto and the other isn't.발음듣기
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It's ancient Greek, both figures are ancient Greek, but this figure is from the Early Classical Period.발음듣기
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By this time, artists had figured out how to observe the body and represent it naturalistically.발음듣기
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That means they are the first culture to create in the West naturalistic images of the human figure.발음듣기
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[Voiceover] Before that, the Greeks had produced a series of standing figures like the kouros that we see on the left. [Voiceover] So this is earlier.발음듣기
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This is a figure which is not standing in contrapposto and we can tell because his weight is equally placed on both feet.발음듣기
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[Voiceover] He looks like he's in some sort of performance or parade or something. [Voiceover] He looks frozen, absolutely.발음듣기
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[Voiceover] So we can say that this figure looks like he can move, so he's capable of movement.발음듣기
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[Voiceover] And that's appropriate because we think this figure was originally a grave marker.발음듣기
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[Voiceover] Let's take a look at the kouros for a moment a little more carefully, and see if we can figure out what actually causes that sense of timelessness.발음듣기
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Symmetrical means that if you cut something down the middle, one side is the same as the other.발음듣기
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[Voiceover] So if we drew a line down the center of his body, one side would essentially be the same as the other, except for that left foot being a little bit forward.발음듣기
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Now what's interesting is the figure on the right is also an idealization, but a more complicated kind of idealization.발음듣기
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[Voiceover] I think that it is the idea of a human as opposed to a representation of a human.발음듣기
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[Voiceover] So in a way, this is a symbolic representation of a human being and not a real representation.발음듣기
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[Voiceover] When the artist was producing the kouros, I don't think they were looking at a model.발음듣기
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But on the right side, I think that the artist was definitely observing the human body and looking specifically at the forms, at the muscles, at the bone structure of the body.발음듣기
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[Voiceover] So we can say that this is a sculpture based on the observation of the human body, and how human bodies look when they move. [Voiceover] And that's essential.발음듣기
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Contrapposto is the result of studying the complex way in which our body aligns when we stand on one leg.발음듣기
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[Voiceover] Sure. Let's take a look at the Doryphoros, at The Spear-Bearer, on the right by Polykleitos.발음듣기
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What you see is a figure that is asymmetrical, as you said, in a sort of wonderfully complex way.발음듣기
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Sometimes, in some representations of contrapposto, the shoulders are in opposition to the hips and the knees, although more slightly.발음듣기
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If you look at the kouros for a moment, the height of the waist on the left is the same as the height of the waist on the right. [Voiceover] Right.발음듣기
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[Voiceover] If you look at the Doryphoros on the right side, you can see that the weight-bearing leg has a hip that juts up, it pushes upward, and that compresses the side.발음듣기
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[Voiceover] Mm-hmm, so this side of his body is shorter, and this side of his body is longer.발음듣기
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[Voiceover] Because his left side where the free leg is, allows the hip to sag, and so there's a kind of hanging and a kind of expansion, extension, of the side. [Voiceover] Yup.발음듣기
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[Voiceover] And so the result is that you actually have a kind of swaying of the vertebrae, and you have, then, a kind of complex alignment that results from this opposition of one side of the body to the other.발음듣기
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[Voiceover] To me, it's fascinating that the Greeks were the first culture in the West to decide to make a human figure who existed like we do in the world.발음듣기
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The figure of the kouros doesn't look as though it's engaging with the world around it at all.발음듣기
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[Voiceover] There is a sense that the Doryphoros on the right is responding to stimuli around him.발음듣기
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[Voiceover] And I think that the kouros doesn't seem to be thinking in the same way that we do. [Voiceover] That's right.발음듣기
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The kouros is an object of our observation, whereas the Doryphoros seems as if he has taken on a life of his own in some way.발음듣기
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[Voiceover] But there's a kind of sympathy that happens with the Doryphoros, because when we look at him, we look at ourselves.발음듣기
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When we look at the kouros, we don't quite see ourselves, or we see a kind of different version, perhaps, of ourselves.발음듣기
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[Voiceover] So what is it about ancient Greek culture that makes them take this humongous leap?발음듣기
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I mean, it's a small thing, a bent knee, and so you would think, "Well, why didn't "anyone come up with that sooner?"발음듣기
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In art history we know that artists in cultures make things that are reflections of the values of the culture, so we know that before the 400s there just wasn't the need to make a figure like the Doryphoros.발음듣기
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[Voiceover] Well, if we look at what happens in Greek culture outside of the visual arts, we see an explosion in literature, we see an explosion in philosophy, we see a culture that is self-aware and that is pushing the boundaries of human knowledge.발음듣기
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[Voiceover] Yeah, I think there's a real interest in the Classical Period in expanding human knowledge based on our own observations of the world, a kind of confidence in human ability to understand the world as it exists, not to say this is some unexplained phenomenon that the gods created and all we can do is sort of pray and hope it all works out okay, but a world that human beings have some control over and some innate ability to understand.발음듣기
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[Voiceover] One of the clich?s about Greek culture is that the Greek gods and goddesses are a reflection of all the complications of human life.발음듣기
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