Campin, Christ and the Virgin발음듣기
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Campin, Christ and the Virgin
23문장
100% 한국어
번역 3명 참여
출처 : 칸아카데미
Campin, Christ and the Virgin
(piano playing) Dr. Zucker: I don't know if I've actually come this close to Christ.
It seems as if we're standing directly face-to-face.
Dr. Harris: Look at what Campin did, he's got Christ's hand appearing to sit on the ledge of the frame of this painting, so that it really feels as though Christ is in our space.
Dr. Zucker: And that we might be as close as the Virgin Mary is.
Dr. Harris: I think that that idea of being this close to Christ expresses a real spiritual bond to come close to God.
Dr. Zucker: We don't know what God looked like, we don't know what Christ looked like, we have no idea what any biblical figures look like,
there are no descriptions like that in the Bible and so this longing, this ability for the artist to create this sense of voracity is really important and is probably linked back to the legend of Veronica, this woman who offered Christ a cloth in order to wipe his face just before the crucifixion.
That cloth, by legend, then miraculous appeared with his likeness and so that notion of the true image of Christ, which is often, by the way, painted this directly in this frontal way, seems to speak to the Renaissance interest in recovering that image, in reestablishing that kind of intimacy.
Dr. Harris: Although this painting has a flat gold background that suggest a heavenly space, that's contradicted by that northern Renaissance realism that we see here.
Where we've got fingernails and cuticles and wrinkles and knuckles and almost every little hair painted separately in Christ's beard.
The attention to detail and the sense of clarity is almost frightening.
Dr. Zucker: It's not just the physical things that are represented with this kind of minute detail, but even the representations of the spiritual are.
Look at their halo's for instance, it is the shallow, round that seems very solid actually and embedded in those halo's are fabulous jewels.
For the Virgin Mary you have this circle of Pearls and look, each one casts a perfect shadow, each is luminous.
And Christ of course with rubies and sapphires.
Dr. Harris: If we look at the jewel that Christ wears on his chest, we can actually see in it a reflection of a window and in that window a shape of a cross.
Dr. Zucker: What's wild about that broach is the way that it feels so solid and yet is absolutely transparent.
Dr. Harris: Christ raises his right hand in blessing, although, he doesn't seem to be looking directly at us, he looks past us.
Although we feel that we've come very close to Christ, at the same time we're not allowed to make any direct connection with him.
Dr. Zucker: Right, that eye contact is missing.
Dr. Harris: Perhaps Mary is here as an intercessor for human kind, with her son, with Christ.
Dr. Zucker: It's one of the most intimate and most extraordinary renderings of Christ and Mary that I've ever seen. (piano playing)
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Dr. Harris: Look at what Campin did, he's got Christ's hand appearing to sit on the ledge of the frame of this painting, so that it really feels as though Christ is in our space.발음듣기
대기중
Dr. Harris: I think that that idea of being this close to Christ expresses a real spiritual bond to come close to God.발음듣기
대기중
Dr. Zucker: We don't know what God looked like, we don't know what Christ looked like, we have no idea what any biblical figures look like,발음듣기
대기중
there are no descriptions like that in the Bible and so this longing, this ability for the artist to create this sense of voracity is really important and is probably linked back to the legend of Veronica, this woman who offered Christ a cloth in order to wipe his face just before the crucifixion.발음듣기
대기중
That cloth, by legend, then miraculous appeared with his likeness and so that notion of the true image of Christ, which is often, by the way, painted this directly in this frontal way, seems to speak to the Renaissance interest in recovering that image, in reestablishing that kind of intimacy.발음듣기
대기중
Dr. Harris: Although this painting has a flat gold background that suggest a heavenly space, that's contradicted by that northern Renaissance realism that we see here.발음듣기
대기중
Where we've got fingernails and cuticles and wrinkles and knuckles and almost every little hair painted separately in Christ's beard.발음듣기
대기중
Dr. Zucker: It's not just the physical things that are represented with this kind of minute detail, but even the representations of the spiritual are.발음듣기
대기중
Look at their halo's for instance, it is the shallow, round that seems very solid actually and embedded in those halo's are fabulous jewels.발음듣기
대기중
For the Virgin Mary you have this circle of Pearls and look, each one casts a perfect shadow, each is luminous.발음듣기
대기중
Dr. Harris: If we look at the jewel that Christ wears on his chest, we can actually see in it a reflection of a window and in that window a shape of a cross.발음듣기
대기중
Dr. Zucker: What's wild about that broach is the way that it feels so solid and yet is absolutely transparent.발음듣기
대기중
Dr. Harris: Christ raises his right hand in blessing, although, he doesn't seem to be looking directly at us, he looks past us.발음듣기
대기중
Although we feel that we've come very close to Christ, at the same time we're not allowed to make any direct connection with him.발음듣기
대기중
Dr. Harris: Perhaps Mary is here as an intercessor for human kind, with her son, with Christ.발음듣기
대기중
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