Contrapposto

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Contrapposto발음듣기

(jazz piano) [Voiceover] Contrapposto. It's a word that gives people problems.발음듣기

[Voiceover] Because it's Italian, it's not English?발음듣기

[Voiceover] And it's a word that's just unfamiliar, but it means something very simple.발음듣기

It is the pose that the human body takes when it is relaxed and standing.발음듣기

[Voiceover] So it's a standing pose.발음듣기

We can say that, first of all, number one, but it's relaxed, and naturalistic.발음듣기

[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

Then when that leg gets tired, you shift your weight to the other leg.발음듣기

[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

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

I think it's pretty clear, right now, that this figure is the one standing in contrapposto.발음듣기

[Voiceover] Right. That's the Doryphoros. This is by an artist whose name is Polykleitos.발음듣기

It's ancient Greek, both figures are ancient Greek, but this figure is from the Early Classical Period.발음듣기

By this time, artists had figured out how to observe the body and represent it naturalistically.발음듣기

Their culture was one that wanted art that represented the naturalistic body.발음듣기

[Voiceover] So it's the ancient Greeks who invented this pose in the West.발음듣기

That means they are the first culture to create in the West naturalistic images of the human figure.발음듣기

[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

This is from the 500s B.C.E., from a period we call the Archaic.발음듣기

This is a figure which is not standing in contrapposto and we can tell because his weight is equally placed on both feet.발음듣기

One foot is in front of the other, but his weight is equally placed.발음듣기

[Voiceover] And the knees are locked. Look at that.발음듣기

It looks so wildly uncomfortable, doesn't it?발음듣기

[Voiceover] He looks like he's in some sort of performance or parade or something. [Voiceover] He looks frozen, absolutely.발음듣기

Whereas the figure on the right, the body is so much more complicated, if you look at it.발음듣기

It seems so much more natural, as if he's taking a step forward.발음듣기

[Voiceover] So we can say that this figure looks like he can move, so he's capable of movement.발음듣기

This figure looks like he's frozen and he's stiff, and in a way, kind of timeless, right?발음듣기

He seems like he could be here tomorrow in this position, yesterday in this position.발음듣기

There is something that transcends time about this position.발음듣기

[Voiceover] And that's appropriate because we think this figure was originally a grave marker.발음듣기

[Voiceover] Right. So, in a way, it transcends time.발음듣기

In a way, this figure does not exist in our world the way that this figure does.발음듣기

[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

For me, I think, it's the symmetry of the body.발음듣기

[Voiceover] So let's write down that word.발음듣기

Because that's a kind of word that we don't use every single day.발음듣기

Symmetrical means that if you cut something down the middle, one side is the same as the other.발음듣기

[Voiceover] So a kind of mirror, a left-right mirror.발음듣기

[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

[Voiceover] So it is not a representation of a person in the world, as you said.발음듣기

It is much more this notion of a kind of ideal figure.발음듣기

Now what's interesting is the figure on the right is also an idealization, but a more complicated kind of idealization.발음듣기

[Voiceover] What do you mean by the figure on the left being ideal?발음듣기

[Voiceover] I think that it is the idea of a human as opposed to a representation of a human.발음듣기

Look, for instance, at the eyes.발음듣기

You have these big almond shapes.발음듣기

Now we know they're in the place of the eye so that we know they represent the eye.발음듣기

But they don't look like human eyes.발음듣기

[Voiceover] So in a way, this is a symbolic representation of a human being and not a real representation.발음듣기

[Voiceover] When the artist was producing the kouros, I don't think they were looking at a model.발음듣기

They didn't need to because, you're right, they were representing through symbol.발음듣기

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

[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

Contrapposto is the result of studying the complex way in which our body aligns when we stand on one leg.발음듣기

[Voiceover] Can you unpack that a little?발음듣기

[Voiceover] Sure. Let's take a look at the Doryphoros, at The Spear-Bearer, on the right by Polykleitos.발음듣기

What you see is a figure that is asymmetrical, as you said, in a sort of wonderfully complex way.발음듣기

Take a look at the ankles for a moment.발음듣기

The left ankle is up, and you can draw an axis line right through the ankles.발음듣기

The axis line of the knees is in opposition to that.발음듣기

The axis line of the hips is parallel to the axis line of the knees.발음듣기

Sometimes, in some representations of contrapposto, the shoulders are in opposition to the hips and the knees, although more slightly.발음듣기

And in this case, we have the figure looking to the right.발음듣기

Now this has some important ramifications for the representation of the body.발음듣기

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

[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

[Voiceover] Mm-hmm, so this side of his body is shorter, and this side of his body is longer.발음듣기

[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

[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

[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

We breathe, we move, we sense what's around us.발음듣기

The figure of the kouros doesn't look as though it's engaging with the world around it at all.발음듣기

[Voiceover] There is a sense that the Doryphoros on the right is responding to stimuli around him.발음듣기

That is, he's turned his head to look at something.발음듣기

It is as if he is sentient.발음듣기

He is responding to the world. [Voiceover] He's thinking.발음듣기

[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

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

[Voiceover] But there's a kind of sympathy that happens with the Doryphoros, because when we look at him, we look at ourselves.발음듣기

When we look at the kouros, we don't quite see ourselves, or we see a kind of different version, perhaps, of ourselves.발음듣기

[Voiceover] I think we see a different kind of ideal.발음듣기

I think we see, perhaps, a representation of ourselves in another world.발음듣기

[Voiceover] So what is it about ancient Greek culture that makes them take this humongous leap?발음듣기

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

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

So what happens in the 400s?발음듣기

That's the meat of the art history question.발음듣기

[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

[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

[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

[Voiceover] And they are! They're just like us.발음듣기

[Voiceover] And so we really have within this Greek culture the idea of human capability, human achievement, at its center. (jazz piano)발음듣기

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