The Colossus of Constantine

47문장 100% 한국어 번역 5명 참여 출처 : 칸아카데미
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The Colossus of Constantine발음듣기

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[MUSIC PLAYING] SPEAKER 1: Well, there's the head.발음듣기

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SPEAKER 2: And elbow.발음듣기

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SPEAKER 1: I see a knee and a finger pointing up.발음듣기

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SPEAKER 2: And a shin.발음듣기

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SPEAKER 1: And a foot.발음듣기

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SPEAKER 2: And another foot.발음듣기

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SPEAKER 1: We're looking at the remains of a colossal marble representation of the emperor Constantine.발음듣기

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SPEAKER 2: And this colossal sculpture was originally, we think, about 40 feet high. So really big.발음듣기

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SPEAKER 1: And it would have filled this extraordinary space at the end of the Basilica of Maxentius and Constantine.발음듣기

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SPEAKER 2: This was a very large public space right here on the Forum.발음듣기

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And at the end of it was a rounded area, a niche.발음듣기

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And the sculpture was found there, so we think it was meant for that space.발음듣기

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SPEAKER 1: Michelangelo is the one who actually brought it up to the Capitoline Hill, which was the ancient government center.발음듣기

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Constantine is certainly a Roman emperor, but he's the last pagan Roman emperor.발음듣기

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And the person who really ushers in Christianity and all the changes that will take place in Italy and end the former empire.발음듣기

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SPEAKER 2: Well, and he moves the capital of the empire to Constantinople, the city of Constantine all the way in the east and so, in a way, begins the decline of the city of Rome that we see happen in the Middle Ages.발음듣기

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SPEAKER 1: So maybe it's not so inappropriate that we see him in fragments in this city.발음듣기

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SPEAKER 2: I find this portrait so interesting.발음듣기

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We think his body had a core of wood and mud brick, and maybe was covered in gilded bronze. We're not really sure.발음듣기

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But I find him so different looking than other images of emperors.발음듣기

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SPEAKER 1: Well, you know this is a really interesting stylistic moment when we think about ancient Greece and ancient Rome.발음듣기

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I think most people just think of the high classical moment and all of its naturalism.발음듣기

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But we're talking about a long period of time in the classical era, and styles change there also.발음듣기

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SPEAKER 2: If you think about the history of Roman emperors and their images, you often see a combination of realism and idealism.발음듣기

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So that the citizens of the Roman Empire could identify that particular emperor.발음듣기

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So we know what Hadrian looked like, or Trajan looked like, or Vespasian looked like.발음듣기

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SPEAKER 1: Right, there has to be enough specificity so you can say, ah, that's my emperor.발음듣기

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SPEAKER 2: Exactly, but at the same time they were idealized to greater or lesser extents and thereby recalled ancient Greek sculpture.발음듣기

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And by idealizing them, they were made to seem divine or godlike.발음듣기

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But here Constantine doesn't look like either of those traditions to me.발음듣기

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SPEAKER 1: Well, this was a moment of real transition.발음듣기

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It's not the issue between a kind of really high pitch nationalism that can actually capture the characteristics of an individual's face, and a kind of idealism.발음듣기

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This is actually a kind of abstraction of the human body.발음듣기

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SPEAKER 2: There's something abstracted, I think, about the oval shapes of his eyes, where we have a sense of them being reduced to geometric shapes.발음듣기

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The way that his eyebrows form these semicircles around the ovals of his eyes.발음듣기

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There's something that looks geometric about, not only his face, but his hair.발음듣기

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And maybe this is a sign of moving towards that symbolic way of representing that we see with the beginnings of Christianity.발음듣기

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SPEAKER 1: I think It's impossible to untangle it from the rise of Christianity, because of our subsequent knowledge of what will happen.발음듣기

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And I think we perhaps don't know enough about the subtle shifts in Roman style.발음듣기

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But my understanding is that there was also different kinds of representation for different strata of society.발음듣기

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And that one could recall, that you sort of in the imperial past, one could recall the more intellectual pursuits of the Greeks through a kind of naturalism.발음듣기

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But one might speak to the here and the now and the broader population through a greater degree of abstraction.발음듣기

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SPEAKER 2: If your figures that look to us as disproportionate, maybe stocky, and stiff in their movements without the lovely contrapposto that we see in ancient Greek and Roman art.발음듣기

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So he seems to be looking beyond us and not really in the here and now.발음듣기

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And maybe in that way, too, there is some suggestion of the Christian and the Heavenly.발음듣기

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SPEAKER 1: Well, certainly of his divinity. [MUSIC PLAYING]발음듣기

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