The Colossus of Constantine

47문장 0% 베트남어 번역 1명 참여 출처 : 칸아카데미
0 영상보기
영어 to
베트남어
2단 보기 1단 보기
번역 0%

The Colossus of Constantine발음듣기

다른 번역문 등록

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

다른 번역문 등록

SPEAKER 2: And elbow.발음듣기

다른 번역문 등록

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

다른 번역문 등록

SPEAKER 2: And a shin.발음듣기

다른 번역문 등록

SPEAKER 1: And a foot.발음듣기

다른 번역문 등록

SPEAKER 2: And another foot.발음듣기

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

SPEAKER 2: I find this portrait so interesting.발음듣기

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

칸아카데미 더보기더 보기

전체보기
Top