Donatello, David, bronze, c. 1440s발음듣기
대기중
Donatello, David, bronze, c. 1440s
68문장
0%
베트남어 번역 0명 참여
출처 : 칸아카데미
번역
0%
And it holds Donatello's "David", one of the most important sculptures of the early Renaissance.발음듣기
대기중
Important because it was the first freestanding nude sculpture since classical antiquity, quite an achievement.발음듣기
대기중
So what we're seeing here is a return to ancient Greece and Rome's love of the body, its respect for the body, which is so evident. It really is.발음듣기
대기중
Donatello has looked back at ancient Greek and Roman sculpture also for the position that David is standing in, the position of contrapposto, which is a very relaxed pose where the weight is placed on one leg.발음듣기
대기중
In the Renaissance this figure looked remarkably alive given the way medieval sculpture had looked for so long.발음듣기
대기중
And so there really is a sense of autonomy as if this figure could move forward of its own accord.발음듣기
대기중
This is bronze, largely copper, with a little bit of tin added to it to give it strength, and it's actually hollow.발음듣기
대기중
It is created through a technique which is known as lost wax casting, which the ancient Romans and the ancient Greeks before them had employed, and which had been used throughout the medieval period, but not at this scale.발음듣기
대기중
And it was just in the early Renaissance that artists are beginning to re-explore how to create bronze sculptures that are this large.발음듣기
대기중
David is very young, and it's hard not to see a kind of sensuality in the way that David puts his hand on his hip and looks down.발음듣기
대기중
And the fact that he's wearing boots and a hat and is otherwise nude, there is a kind of eroticism here.발음듣기
대기중
And that's especially evident if you look at the fact that David is standing on the now severed head of Goliath.발음듣기
대기중
In fact, in his right hand he's holding Goliath's own sword which David has used, but because he's standing on that head, that pushes his leg up.발음듣기
대기중
One of the wings of the helmet is just riding up the inner thigh, perhaps a little too high, in fact.발음듣기
대기중
This was a sculpture that was really important to the city of Florence, and yet it has this very intimate quality to it.발음듣기
대기중
So the Medici palace had a large entranceway, and there was a kind of axes that allowed you to see directly into the garden and this would have been visible in the center of it.발음듣기
대기중
That's right. It's really important for us to remember that to the Florentine people this wasn't just King David from the Bible.발음듣기
대기중
The Florentine people felt, very much identified with David because like David, they had defeated their enemy.발음듣기
대기중
Or this is how they saw it, they had defeated their enemy, the Duke of Milan, in the early 15th century, with the help of God.발음듣기
대기중
In fact they felt blessed and chosen by God and the heirs of the ancient Roman republic, and so the subject of David represented Florence, the Florentine republic.발음듣기
대기중
Milan was significantly stronger than Florence, which was a mercantile culture, as opposed to a military power.발음듣기
대기중
Anyone looking at this sculpture in the Medici garden in the 15th century would have understood David as a reference to the liberties and freedoms that were so cherished by the Florentine people and had been threatened by the Duke of Milan.발음듣기
대기중
On the other hand you could say that the Medici were usurping the civic symbolism for themselves in some ways.발음듣기
대기중
And in fact, when the Medici were run out of town, this sculpture was actually taken to the Signoria, that is, to the town hall, and made a public sculpture.발음듣기
대기중
Right, and by so having it in the Medici garden appropriating this symbol of the city, and all that was great about the city, Medici were appropriating that for themselves.발음듣기
대기중
David will grow up to be king, to have been enormously wise and in a sense it was a perfect kind of story for the Medici to put forward as a representation not only of the city but specifically of their own rule within the city.발음듣기
대기중
Right. So they are sort of identifying themselves as the city of Florence, identifying themselves with youthfulness, with King David, and with all that's great about the Florentine republic.발음듣기
대기중
And although this is a sculpture that is about war, the symbols are clearly about David and peace and the Medici and peace.발음듣기
대기중
But in David's other hand, in his left hand, he holds a rock, presumably the rock that he used in the slingshot to actually fell the giant in the first place.발음듣기
대기중
But I think it's interesting, that Donatello, here, a sculptor, is actually portraying that rock as in a sense the opposing weapon to the sword.발음듣기
대기중
The iconography, all of the meanings, David and what that meant to the city of Florence, the eroticism, or even the homoeroticism, art historians are not really sure about all of those meanings. for the 15th century Florentine people.발음듣기
대기중
And some art historians have even suggested that the identification of this figure as David is not even completely secure, that it could also have been read as Mercury.발음듣기
대기중
And so we see it in a complicated way, and it's quite likely that the people of Florence in the 15th century saw it in a complicated way and had multiple readings of it.발음듣기
대기중
It's an important reminder that art history itself is a process of trying to restore meaning and understand meaning through the lens of time.발음듣기
대기중
칸아카데미 더보기더 보기
-
59문장 0%번역 좋아요2
번역하기 -
Fallacies: Affirming the consequent
33문장 0%번역 좋아요0
번역하기 -
The Painting Techniques of Ad Reinhardt
42문장 0%번역 좋아요4
번역하기 -
Irregular plural nouns - -f to -ves
28문장 0%번역 좋아요2
번역하기
