Barberini Faun, c. 220 B.C.E.발음듣기
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Barberini Faun, c. 220 B.C.E.
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Dionysus the god of wine didn't like to be lonely he was surrounded by the satyrs and by maenads, he loved to party and you can't party alone.발음듣기
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And of course the satyrs would become tired sometimes after they drank a bit too much and that's exactly the subject of the Barberini Faun that were looking at Now a satyr is not a human being he may look human to us but he's in greek mythology part animal really.발음듣기
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That's right he's a subhuman in the hierarchy of the gods where, the gods at mount Olympus at the top, then you had heroes that were half divine and half human, then you had humans, and then you had subhumans even below that monsters.발음듣기
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A satyr would be a subhuman and if you look really closely you can tell that although looks quite human in most ways he's got a tail, pointy ears and sometimes this is even represented with hooves.발음듣기
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Yeah you can see the tail actually coming from behind his left thigh, that's where I first noticed it.발음듣기
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And for the greeks these particular subhumans, the satyrs, were half civilized and half wild and so it was wonderful way to express the uncultivated the kind of barbaric qualities of human nature.발음듣기
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he's not a really faun, he's really maerceder but he's called the Barberini Faun because when he was discovered in Rome near the Castle Sant'Angelo in 1625 the pope at the time was from the Barberini family and everyone recognized how spectacular this figure was and the pope said well I officially declare this to be part of my family collection.발음듣기
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He wanted to do that because it was so important, not only is it just a stellar example sculpture,발음듣기
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but we think this actually dates to the Third century B.C.E and that it is an original greek sculpture.발음듣기
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Although it's always very hard to tell where something is a greek original or a later roman copy it could be a terrific copy, we do know though that at least a portion of it has been restored.발음듣기
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And you can see those restorations quite clearly in the lower part of the left thigh and almost the entire right leg and foot.발음듣기
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So the spectacular sculpture ended up here in Munich when it was apart by Prince Ludwig of Bavaria in the early nineteen century Quite a sculpture to add to his collection for his new museum.발음듣기
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It's an amazing thing to think that his was likely found in the moat of Hadrian's tomb in what is now Castle Sant'Angelo in Rome.발음듣기
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It's incredibly erotic this figure has his legs spread he's in a drunken half sleepy half awake state.발음듣기
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What you see that in his body on the one hand it's absolute exhaustion, he's just dead tired.발음듣기
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Look at right leg, the way it's pushed up , now that part is a restoration, but we know that is pretty much the placement because of a rock on which it sat.발음듣기
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It is just spectacularly sensitive and I love the fact that it is not symmetrical, his head is pushed over to the side.발음듣기
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And if you look at his cheeks straight on it you can see the gravity is compressing the right side of his face and is expanding the left side and so there really is this intense naturalism, this observation of the elastic qualities of the human body.발음듣기
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Now we're in the Hellenistic period where ancient greek artist are expanding their subject matter,발음듣기
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so we don't just have the heroic ideal athletic nudes that we saw in the classical period, but here the artists explore a more emotional state.발음듣기
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That's right sometimes this is either referred to as the Hellenistic baroque because of it's willingness to remove the reserve that we associate with the high class of a period before.발음듣기
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And you can see that he's even keeping his heel on it, it's softer, and he's rolled it up a little bit under his arm so that it functions somewhat like a cushion.발음듣기
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Although it is a little hard for you to imagine him walking up to this rock laying down the leopard skin then somehow lying on it.발음듣기
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We can see the folds of his flesh in his abodomen or the careful articulation of the muscles, and the shoulders, and the armpit.발음듣기
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There is a turn in the torso and we see that in other ancient Greek sculptures like the belvedere torso and although this was found a hundred years after Michaelangelo or a little bit less,발음듣기
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you can see how that kind of twisting and torsion in the body was something that Michaelangelo would pick up on.발음듣기
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I think that if Michaelangelo had ever have had the opportunity to see this he would absolutely love it.발음듣기
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