Raphael, Marriage of the Virgin, 1504

26문장 100% 한국어 번역 3명 참여 출처 : 칸아카데미
0 영상보기
영어 to
한국어
2단 보기 1단 보기

Raphael, Marriage of the Virgin, 1504

We're in the Brera, in Milan and we're looking at an important early Raphael Raphael is in his early twenties when he paints this and the subject is the marriage of the virgin.

And it's taken from a book called the Golden Legend now, this is a medival book, it basically tries to fill in all the missing stories in the Bible Now, when you think about this deeply religious Christian culture they looked at the Bible to understand the secret story but there're so many omissions there're so many things that are missing that people created the glue that tied the stories together.

And that's what's collected in the book we know today as The Golden Legend.

So this story is about the marriage of the virgin Mary to Saint Joseph and that story says, that there're number of people that want to marry Mary ..many suitors..

And each of these suitors had a rod and that she would be married to the one whose rod flowered, miraculously flowered, needless to say.

And so they went to the temple and the man whose rod flowered was Joseph and we can see that in this painting - Joseph who's got that wonderful yellow drape over his shoulder and around his waist is putting a ring tenderly on the virgin Mary's finger and he holds in his left hand a rod that indeed has leaves at its end and there are other suitors behind him, you can see, have rod without flowers on the end.

And one suitor in front is annoyed, decided to brake the rod on the knee.

There's wonderful human narrative quality here.

This is not just sacred event, that really is an acting it before us as a kind of performance.

And so right in center we have a priest marrying Mary and Joseph and the painting is so symmetrical in so many ways with that temple behind and this rationally constructed perspective space and that priest is in the middle between Mary and Joseph, tits his head little bit so he's just off centre.

In fact there's little bit of the chaos of the crowd that people're moving this way ahead The people're refocusing here and there.

This painting is often compared to an early renaissance painting by Raphael's teacher Perugino "The Giving of the Keys to Saint Peter" and you can begin to see here in this early work by Raphael indications of what we understand now as the high renaissance style as opposed to the kind of stiffness of the 15th century of the early renaissance.

Raphael I guess has figures who seem to move very easily and elegantly.

So, make no mistake, this is painting that is to clearly indebted to Perugino, why?

I think you're absolutely right, Raphel is beginning to step out of his master shadow.

He signed the painting, if you look very closely the front of temple it says "Raphael vrbinas" - Raphael from Urbino.

And there is a beautiful sense of elegance, especially in the version of Mary, she is painted so tenderly and she stands in a lovely counterpose though, tilts her head down. It's that typical Raphael's sweetness.

So whereas the early renaissance so often was trying to reveal the truths of what we see of the world that we live in, here there's an attempt to perfect to create that kind of balanced harmony as representation of ideal heavenly place.

Ideal beauty, perfection, harmony are qualities associated with the high renaissance and we see that in background of this painting.

If we follow the linio perspective system and we track the orthogonal created by those paving stones behind the freezed figures in the front we see a centrally planned temple in the background a form that was considered ideal by the architects and artists of the high renaissance, we can think of Monte for example and his Tempietto.

It's a spectacular building and I love the way that the lining perspective leads her eye back.

They passed the freezed figure in the foreground and then our eyes are allowed to move around that arcade that's occupied by those smaller figures,

But then my eye goes back to the doorway and then through the building to the doorway on its far side and to the sky that's revealed beyond even that and there is that diminishment of the scale of the one doorway and then the further doorway giving us a real sense of the completeness of this space.

There's real love of creating an illusion of space an the way that the sizes of the figure shift as we move further back in the space we have this real harmony here that I think is really typical of the high renaissance between the architecture and figures, where one ennobles and the other were one as ideal and perfect as the other, it's this high renaissance moment, although very beginnings.

And of course we're looking with high insight to what will happened.

번역 0%

Raphael, Marriage of the Virgin, 1504발음듣기

다른 번역문 등록

We're in the Brera, in Milan and we're looking at an important early Raphael Raphael is in his early twenties when he paints this and the subject is the marriage of the virgin.발음듣기

다른 번역문 등록

And it's taken from a book called the Golden Legend now, this is a medival book, it basically tries to fill in all the missing stories in the Bible Now, when you think about this deeply religious Christian culture they looked at the Bible to understand the secret story but there're so many omissions there're so many things that are missing that people created the glue that tied the stories together.발음듣기

다른 번역문 등록

And that's what's collected in the book we know today as The Golden Legend.발음듣기

다른 번역문 등록

So this story is about the marriage of the virgin Mary to Saint Joseph and that story says, that there're number of people that want to marry Mary ..many suitors..발음듣기

다른 번역문 등록

And each of these suitors had a rod and that she would be married to the one whose rod flowered, miraculously flowered, needless to say.발음듣기

다른 번역문 등록

And so they went to the temple and the man whose rod flowered was Joseph and we can see that in this painting - Joseph who's got that wonderful yellow drape over his shoulder and around his waist is putting a ring tenderly on the virgin Mary's finger and he holds in his left hand a rod that indeed has leaves at its end and there are other suitors behind him, you can see, have rod without flowers on the end.발음듣기

다른 번역문 등록

And one suitor in front is annoyed, decided to brake the rod on the knee.발음듣기

다른 번역문 등록

There's wonderful human narrative quality here.발음듣기

다른 번역문 등록

This is not just sacred event, that really is an acting it before us as a kind of performance.발음듣기

다른 번역문 등록

And so right in center we have a priest marrying Mary and Joseph and the painting is so symmetrical in so many ways with that temple behind and this rationally constructed perspective space and that priest is in the middle between Mary and Joseph, tits his head little bit so he's just off centre.발음듣기

다른 번역문 등록

In fact there's little bit of the chaos of the crowd that people're moving this way ahead The people're refocusing here and there.발음듣기

다른 번역문 등록

This painting is often compared to an early renaissance painting by Raphael's teacher Perugino "The Giving of the Keys to Saint Peter" and you can begin to see here in this early work by Raphael indications of what we understand now as the high renaissance style as opposed to the kind of stiffness of the 15th century of the early renaissance.발음듣기

다른 번역문 등록

Raphael I guess has figures who seem to move very easily and elegantly.발음듣기

다른 번역문 등록

So, make no mistake, this is painting that is to clearly indebted to Perugino, why?발음듣기

다른 번역문 등록

I think you're absolutely right, Raphel is beginning to step out of his master shadow.발음듣기

다른 번역문 등록

He signed the painting, if you look very closely the front of temple it says "Raphael vrbinas" - Raphael from Urbino.발음듣기

다른 번역문 등록

And there is a beautiful sense of elegance, especially in the version of Mary, she is painted so tenderly and she stands in a lovely counterpose though, tilts her head down. It's that typical Raphael's sweetness.발음듣기

다른 번역문 등록

So whereas the early renaissance so often was trying to reveal the truths of what we see of the world that we live in, here there's an attempt to perfect to create that kind of balanced harmony as representation of ideal heavenly place.발음듣기

다른 번역문 등록

Ideal beauty, perfection, harmony are qualities associated with the high renaissance and we see that in background of this painting.발음듣기

다른 번역문 등록

If we follow the linio perspective system and we track the orthogonal created by those paving stones behind the freezed figures in the front we see a centrally planned temple in the background a form that was considered ideal by the architects and artists of the high renaissance, we can think of Monte for example and his Tempietto.발음듣기

다른 번역문 등록

It's a spectacular building and I love the way that the lining perspective leads her eye back.발음듣기

다른 번역문 등록

They passed the freezed figure in the foreground and then our eyes are allowed to move around that arcade that's occupied by those smaller figures,발음듣기

다른 번역문 등록

But then my eye goes back to the doorway and then through the building to the doorway on its far side and to the sky that's revealed beyond even that and there is that diminishment of the scale of the one doorway and then the further doorway giving us a real sense of the completeness of this space.발음듣기

다른 번역문 등록

There's real love of creating an illusion of space an the way that the sizes of the figure shift as we move further back in the space we have this real harmony here that I think is really typical of the high renaissance between the architecture and figures, where one ennobles and the other were one as ideal and perfect as the other, it's this high renaissance moment, although very beginnings.발음듣기

다른 번역문 등록

And of course we're looking with high insight to what will happened.발음듣기

다른 번역문 등록

칸아카데미 더보기더 보기

전체보기
Top