Leonardo, Last Supper발음듣기
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Leonardo, Last Supper
72문장
100% 한국어
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출처 : 칸아카데미
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[music] We're in Santa Maria della Grazie, in Milan, looking at Leonardo da Vinci's "Last Supper."발음듣기
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And we're in the room where the monks would eat, the refectory, and so several times a day the monks would come in here and eat silently, and be able to look up at Leonardo's "Last Supper."발음듣기
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That is, this is not the moment when Christ utters that, but the moment after, when the reaction takes place.발음듣기
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The sacrament of the Eucharist, we might know it as Holy Communion, where Christ says, "Take this bread, for this is my body.발음듣기
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But what's interesting is that Christ's hand is widely spread, so it seems as if he's reaching towards the wine, but at the same time he's reaching toward a bowl, and at the same moment, Judas is reaching towards that same bowl.발음듣기
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He's been paid thirty pieces of silver by the Romans, and you can see he's grasped that bag of silver in his right hand, as he pulls away from Christ, his face cast in shadow.발음듣기
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But he's pulling away at the same time that he's still reaching out to the bowl, and that's one of the ways that Christ identifies who will betray him, the person who shares, who dips with him in that bowl.발음듣기
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It's interesting, because the history of - the art history about this painting - is really about scholars arguing about what moment this is.발음듣기
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[chuckling] But I think there are all of these moments here, and the apostles could just as easily be understood as reacting to Christ's words, "One of you will betray me," as they could to Christ saying, "Take the bread, for this is my body; and take the wine, for this is my blood."발음듣기
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So Leonardo tells us several moments in this story, and at the same time gives us a sense of the divine, eternal importance of this story.발음듣기
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We know that this is an important moment, but without any of the obvious symbols of the Divine that we would have in the early Renaissance, like the halo.발음듣기
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The figures themselves are monumental in this space, and too crowded for that table, creating a kind of energy, a kind of chaos, that surrounds the perfection, the solemnity, the geometry of Christ.발음듣기
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Christ forms an equilateral triangle, his head is in the center of a circle; the window that frames his head reads as a halo.발음듣기
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There's that calm center, and then human beings, with all of their faults and fears and worries, around that divine center.발음듣기
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This is Leonardo da Vinci, who is thinking about mathematics, he's thinking about science, he's thinking about the integration of all of these things.발음듣기
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If we look at earlier images of the Last Supper, there's lots of room at the table; there's lots of decorations in the room;발음듣기
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what Leonardo does is he simplifies everything, and focuses us on those figures and their gestures and by making it so that there's no room behind the table - the figures take up so much space - it's separating our world from the world of Christ and the apostles.발음듣기
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In versions of the Last Supper that Leonardo would have seen in Florence, Judas is sitting on the opposite side of the table; and by putting Judas with the other apostles, he does use the table as a barrier between our world and the world of the apostles.발음듣기
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He's got a knife that he holds around his back, and he comes in, seeming to say almost, "Who is it? I need to defend you."발음듣기
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The third figure in that group with Judas and Peter would be St. John, who looks very resigned and closes his eyes, and that's the tradition in paintings of the Last Supper.발음듣기
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Leonardo was very interested in using the body to reveal the soul, to reveal one's internal nature.발음듣기
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But Leonardo was creating these four groups of three with that idea of knitting the figures together, overlapping them with one another, creating all this drama.발음듣기
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There's that incredible grouping of Thomas pointing upward - As if to say, "is this something that is ordained by God?발음듣기
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But of course, that finger also foreshadows him actually proving Christ's resurrection by plunging that finger into Christ's wound.발음듣기
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And then we have Phillip and James the Major, and they're in opposition, one throwing his arms out, one bringing his hands together.발음듣기
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And if we were to compare this with earlier Last Suppers, we would see the way that the figures remained very separate from one another.발음듣기
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And here that idea of the unified composition, which is so characteristic of the High Renaissance.발음듣기
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But what I sense here more than anything is the Divinity of Christ here, in the center, his calm, the way that all of those perspective lines bring us toward him.발음듣기
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It's interesting, because that perspective that the artist is rendering is slightly at odds with the perspective as we see it from down here on the floor.발음듣기
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That is, we would need to be close to Christ's level to see this painting in a perspectivally correct manner.발음듣기
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Right. We would have to be what, about 10 or 15 feet off the floor to have the perspective work exactly perfectly.발음듣기
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The painting is in terrible condition, in part because Leonardo experimented with a combination of oil paint and tempera in an environment where fresco would be traditionally used, and the painting began to deteriorate soon after it was completed.발음듣기
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Right. Unlike a traditional fresco, which is painted on wet plaster, Leonardo painted on dry plaster, and the paint never really adhered to the wall.발음듣기
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It is finding a way of creating a sense of the eternal, a sense of the perfect, but within the chaos that is the human experience.발음듣기
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