Imagine you're in Rome, and you've made your way to the Vatican Museums. And you've been shuffling down long corridors, past statues, frescoes, lots and lots of stuff. You're heading towards the Sistine Chapel. At last -- a long corridor, a stair and a door. You're at the threshold of the Sistine Chapel.
Zamislite da ste u Rimu i prispeli ste do Vatikanskih muzeja. Vukli ste se kroz dugačke hodnike, pored statua, fresaka i mnogih drugih stvari. Uputili ste se ka Sikstinskoj kapeli. Konačno - dugačak hodnik, stepenik i vrata. Nalazite se na pragu Sikstinske kapele.
So what are you expecting? Soaring domes? Choirs of angels? We don't really have any of that there. Instead, you may ask yourself, what do we have?
Pa, šta očekujete? Uzdignute zvonike? Horove anđela? Nemamo ništa od toga tamo. Umesto toga, možda se pitate, šta imamo?
Well, curtains up on the Sistine Chapel. And I mean literally, you're surrounded by painted curtains, the original decoration of this chapel. Churches used tapestries not just to keep out cold during long masses, but as a way to represent the great theater of life. The human drama in which each one of us plays a part is a great story, a story that encompasses the whole world and that came to unfold in the three stages of the painting in the Sistine Chapel.
Pa, zavese preko Sikstinske kapele. Mislim, bukvalno ste okruženi oslikanim zavesama, originalnim ukrasima ove kapele. Crkve su koristile tapiserije ne samo radi zaštite od hladnoće tokom dugih službi, već i kao način predstavljanja velikog pozorišta života. Ljudska drama u kojoj svako od nas igra ulogu predstavlja veliku priču, priču koja obuhvata ceo svet i koja se razotkriva u tri nivoa na oslikanoj površini Sikstinske kapele.
Now, this building started out as a space for a small group of wealthy, educated Christian priests. They prayed there. They elected their pope there. Five hundred years ago, it was the ultimate ecclesiastical man cave. So, you may ask, how can it be that today it attracts and delights five million people a year, from all different backgrounds? Because in that compressed space, there was a creative explosion, ignited by the electric excitement of new geopolitical frontiers, which set on fire the ancient missionary tradition of the Church and produced one of the greatest works of art in history.
Ova zgrada je započeta kao prostor za malu grupu bogatih, obrazovanih hrišćanskih sveštenika. Tu su se molili. Tu su odabirali papu. Pre petsto godina, bilo je to vrhunsko utočište za sveštenike. Pa, možda se pitate, kako to da danas privlači i očarava pet miliona ljudi godišnje, sasvim različitog porekla? Zato što se u tom sabijenom prostoru odvijala kreativna eksplozija, podstaknuta intenzivnim uzbuđenjem zbog novih geopolitičkih granica, što je zapalilo drevnu misionarsku tradiciju Crkve i stvorilo jedno od najvećih dela u istoriji umetnosti.
Now, this development took place as a great evolution, moving from the beginning of a few elite, and eventually able to speak to audiences of people that come from all over the world. This evolution took place in three stages, each one linked to a historical circumstance. The first one was rather limited in scope. It reflected the rather parochial perspective. The second one took place after worldviews were dramatically altered after Columbus's historical voyage; and the third, when the Age of Discovery was well under way and the Church rose to the challenge of going global.
Ovaj razvoj se odigrao kao velika evolucija, napravivši pomak od svog početka, od nekolicine pripadnika elite da bi najzad mogao da se obrati čitavoj publici ljudi koja pristiže iz svih krajeva sveta. Ovaj razvoj se odigrao u tri faze, od kojih je svaka vezana za istorijske okolnosti. Prva je bila prilično ograničenog dometa. Odražavala je perspektivu koja je bila prilično palanačka. Druga se desila nakon dramatičnih izmena u pogledima na svet po Kolumbovom istorijskom putovanju; a treća, kada je uveliko bilo u toku razdoblje velikih geografskih otkrića, a crkva je bila dorasla izazovu da postane globalna.
The original decoration of this church reflected a smaller world. There were busy scenes that told the stories of the lives of Jesus and Moses, reflecting the development of the Jewish and Christian people. The man who commissioned this, Pope Sixtus IV, assembled a dream team of Florentine art, including men like Sandro Botticelli and the man who would become Michelangelo's future painting teacher, Ghirlandaio. These men, they blanketed the walls with a frieze of pure color, and in these stories you'll notice familiar landscapes, the artists using Roman monuments or a Tuscan landscape to render a faraway story, something much more familiar. With the addition of images of the Pope's friends and family, this was a perfect decoration for a small court limited to the European continent. But in 1492, the New World was discovered, horizons were expanding, and this little 133 by 46-foot microcosm had to expand as well. And it did, thanks to a creative genius, a visionary and an awesome story.
Prvobitni ukrasi u ovoj crkvi odražavali su manji svet. Tu su bile užurbane scene koje su iznosile priče o životu Isusa i Mojsija, prikazujući razvoj jevrejskog i hrišćanskog naroda. Čovek koji je ovo naručio, Papa Sikst IV, okupio je tim snova firentinske umetnosti, uključujući ljude kao što je Sandro Botičeli i čovek koji će kasnije postati Mikelanđelov učitelj slikanja, Girlandajo. Ti ljudi su prekrili zidove frizom čistih boja, a u tim pričama ćete primetiti poznate pejzaže. Umetnici su koristili rimske spomenike ili pejzaže Toskane da bi prizvale daleku priču, nešto mnogo poznatije. Uz dodate slike papinih prijatelja i porodice, ovo je bila savršena dekoracija za malu palatu ograničenu samo na evropski kontinent. Međutim, 1492. godine otkriven je Novi svet i širili su se vidici, pa je i ovaj mikrokosmos od 40 sa 14 metara morao da se proširi. I jeste, zahvaljujući kreativnom geniju, vizionaru i sjajnoj priči.
Now, the creative genius was Michelangelo Buonarroti, 33 years old when he was tapped to decorate 12,000 square feet of ceiling, and the deck was stacked against him -- he had trained in painting but had left to pursue sculpture. There were angry patrons in Florence because he had left a stack of incomplete commissions, lured to Rome by the prospect of a great sculptural project, and that project had fallen through. And he had been left with a commission to paint 12 apostles against a decorative background in the Sistine Chapel ceiling, which would look like every other ceiling in Italy.
Kreativni genije je bio Mikelanđelo Buonaroti, koji je imao 33 godine kada su ga izabrali da ukrasi tavanicu površine 1 115 kvadratnih metara, i stvari mu nisu išle na ruku - obučio se da bude slikar, ali je to napustio da bi se bavio skulpturom. Bilo je ljutih mecena u Firenci jer je ostavio gomilu nezavršenih narudžbina, jer ga je u Rim namamila mogućnost velikog skulptorskog projekta, a taj projekat je propao. Ostala mu je narudžbina da naslika 12 apostola na ukrasnoj pozadini tavanice Sikstinske kapele, koja bi izgledala kao bilo koja druga tavanica u Italiji.
But genius rose to the challenge. In an age when a man dared to sail across the Atlantic Ocean, Michelangelo dared to chart new artistic waters. He, too, would tell a story -- no Apostles -- but a story of great beginnings, the story of Genesis.
Ipak, genije je bio dorastao izazovu. U doba kada se čovek usudio da plovi Atlantskim okeanom, Mikelanđelo se usudio da krstari novim umetičkim vodama. On će, takođe, ispričati priču - ne o apostolima, već o velikim počecima, priču o postanju.
Not really an easy sell, stories on a ceiling. How would you be able to read a busy scene from 62 feet below? The painting technique that had been handed on for 200 years in Florentine studios was not equipped for this kind of a narrative.
Ne prolaze baš tako lako te priče na tavanici. Kako biste mogli da razaznate užurbanu scenu 19 metara ispod nje? Slikarska tehnika koja se tokom 200 godina prenosila u firentinskim ateljeima nije bila spremna za ovakvu vrstu priče.
But Michelangelo wasn't really a painter, and so he played to his strengths. Instead of being accustomed to filling space with busyness, he took a hammer and chisel and hacked away at a piece of marble to reveal the figure within. Michelangelo was an essentialist; he would tell his story in massive, dynamic bodies.
No, Mikelanđelo nije stvarno bio slikar, pa je radio šta je mogao. Umesto uobičajenog popunjavanja prostora užurbanošću, uzeo je čekić i dleto i odlomio delić mermera da bi pokazao figuru unutra. Mikelanđelo je bio esencijalist; pričao je svoju priču kroz snažna, dinamična tela.
This plan was embraced by the larger-than-life Pope Julius II, a man who was unafraid of Michelangelo's brazen genius. He was nephew to Pope Sixtus IV, and he had been steeped in art for 30 years and he knew its power. And history has handed down the moniker of the Warrior Pope, but this man's legacy to the Vatican -- it wasn't fortresses and artillery, it was art. He left us the Raphael Rooms, the Sistine Chapel. He left St. Peter's Basilica as well as an extraordinary collection of Greco-Roman sculptures -- decidedly un-Christian works that would become the seedbed of the world's first modern museum, the Vatican Museums. Julius was a man who envisioned a Vatican that would be eternally relevant through grandeur and through beauty, and he was right. The encounter between these two giants, Michelangelo and Julius II, that's what gave us the Sistine Chapel. Michelangelo was so committed to this project, that he succeeded in getting the job done in three and a half years, using a skeleton crew and spending most of the time, hours on end, reaching up above his head to paint the stories on the ceiling.
Taj plan je prihvatio upečatljivi papa Julije II, čovek koji nije zazirao od Mikelanđelove smele genijalnosti. Bio je bratanac pape Siksta IV, bio je prisutan u umetnosti 30 godina i bio je svestan njene moći. Istorija mu je nadenula nadimak pape ratnika, ali zaveštanje ovog čoveka Vatikanu - to nisu tvrđave i artiljerija, već umetnost. Ostavio nam je Rafaelove sobe, Sikstinsku kapelu. Ostavio je Baziliku sv. Petra, kao i izvanrednu zbirku grčko-rimskih skulptura - izrazito nehrišćanske radove, koja će postati kolevka prvog svetskog modernog muzeja, Vatikanskih muzeja. Julije je bio čovek koji je predviđao da će Vatikan biti večno od značaja kroz raskoš i lepotu i bio je u pravu. Susret između ove dve veličine, Mikelanđela i Julija II - to je ono što nam je omogućilo da imamo Sikstinsku kapelu. Mikelanđelo je bio toliko posvećen projektu da je uspeo da završi posao za tri i po godine, uz minimum pomoćnika i provodeći većinu vremena, nekoliko sati bez prekida, dosežući iznad svoje glave da bi naslikao priče na tavanici.
So let's look at this ceiling and see storytelling gone global. No more familiar artistic references to the world around you. There's just space and structure and energy; a monumental painted framework which opens onto nine panels, more driven by sculptural form than painterly color. And we stand in the far end by the entrance, far from the altar and from the gated enclosure intended for the clergy and we peer into the distance, looking for a beginning. And whether in scientific inquiry or in biblical tradition, we think in terms of a primal spark. Michelangelo gave us an initial energy when he gave us the separation of light and dark, a churning figure blurry in the distance, compressed into a tight space. The next figure looms larger, and you see a figure hurtling from one side to the next. He leaves in his wake the sun, the moon, vegetation. Michelangelo didn't focus on the stuff that was being created, unlike all the other artists. He focused on the act of creation.
Hajde da pogledamo ovu tavanicu i vidimo kako pripovedanje postaje globalno. Nema više poznatih umetničkih aluzija na svet oko nas. Postoji samo prostor, struktura i energija; monumentalni oslikani okvir koji sadrži devet segmenata, pod većim uticajem skulpturalnog oblika nego slikarske boje. Stojimo na samom kraju pokraj ulaza, daleko od oltara i ograđenog prostora predviđenog za sveštenike, zagledani u daljinu, tragajući za početkom. Bilo da su u pitanju okviri naučne potrage ili biblijske tradicije, naša razmišljanja su vezana za iskonsku iskru. Mikelanđelo nam je dao početnu energiju kada nam je dao razdvajanje svetlosti i tame, uzburkane mutne figure u daljini, zbijene na uskom prostoru. Sledeća figura se nazire kao veća i vidite figuru koja juri sa jedne strane na drugu. Ostavlja za sobom sunce, mesec, rastinje. Mikelanđelo nije bio fokusiran na stvari koje su stvarane, za razliku od drugih umetnika. Bio je usredsređen na čin stvaranja.
And then the movement stops, like a caesura in poetry and the creator hovers. So what's he doing? Is he creating land? Is he creating sea? Or is he looking back over his handiwork, the universe and his treasures, just like Michelangelo must have, looking back over his work in the ceiling and proclaiming, "It is good."
A zatim pokret prestaje, kao cezura u poeziji i Stvoritelj lebdi u vazduhu. Šta to radi? Da li stvara zemlju? Da li stvara more? Ili sagledava delo svojih ruku, univerzum i njegova blaga, baš kao što je to verovatno činio i Mikelanđelo, pogledavši svoje delo na tavanici i dajući na znanje: „Dobro je.“
So now the scene is set, and you get to the culmination of creation, which is man. Adam leaps to the eye, a light figure against a dark background. But looking closer, that leg is pretty languid on the ground, the arm is heavy on the knee. Adam lacks that interior spark that will impel him to greatness. That spark is about to be conferred by the creator in that finger, which is one millimeter from the hand of Adam. It puts us at the edge of our seats, because we're one moment from that contact, through which that man will discover his purpose, leap up and take his place at the pinnacle of creation.
Scena je sada postavljena i stižete do kulminacije stvaranja, a to je čovek. Adam upada u oči, svetla figura na tamnoj pozadini. Međutim, ako pogledamo bliže, noga na zemlji je prilično militava, ruka naleže svojom težinom na koleno. Adamu nedostaje ta unutrašnja iskra koja će ga povući u visine. Tu iskru će mu upravo predati Stvoritelj kroz taj prst, koji se nalazi na milimetar od Adamove ruke. To nas dovodi u stanje napetosti, jer se nalazimo na trenutak od tog kontakta, kroz koji će taj čovek otkriti svoju svrhu, poskočiti i zauzeti svoje mesto na samom vrhuncu stvaranja.
And then Michelangelo threw a curveball. Who is in that other arm? Eve, first woman. No, she's not an afterthought. She's part of the plan. She's always been in his mind. Look at her, so intimate with God that her hand curls around his arm. And for me, an American art historian from the 21st century, this was the moment that the painting spoke to me. Because I realized that this representation of the human drama was always about men and women -- so much so, that the dead center, the heart of the ceiling, is the creation of woman, not Adam. And the fact is, that when you see them together in the Garden of Eden, they fall together and together their proud posture turns into folded shame.
Zatim Mikelanđelo unosi iznenađenje. Ko je u toj drugoj ruci? Eva, prva žena. Ne, ona nije naknadno smišljena. Ona je deo plana. Oduvek mu je bila na umu. Pogledajte je, tako prisna sa Bogom da se njena šaka uvija oko njegove ruke. Za mene, američkog istoričara umetnosti iz 21. veka, ovo je bio trenutak kada mi se slika obratila, jer sam shvatila da je ovaj prikaz ljudske drame oduvek bio vezan za muškarca i ženu - u toj meri da je u mrtvoj tački, u središtu tavanice, stvaranje žene, ne Adama. Zapravo, kada ih vidite zajedno u rajskom vrtu, zajednički padaju i zajednički njihovo ponosno držanje postaje pognuti sram.
You are at critical juncture now in the ceiling. You are exactly at the point where you and I can go no further into the church. The gated enclosure keeps us out of the inner sanctum, and we are cast out much like Adam and Eve. The remaining scenes in the ceiling, they mirror the crowded chaos of the world around us. You have Noah and his Ark and the flood. You have Noah. He's making a sacrifice and a covenant with God. Maybe he's the savior. Oh, but no, Noah is the one who grew grapes, invented wine, got drunk and passed out naked in his barn. It is a curious way to design the ceiling, now starting out with God creating life, ending up with some guy blind drunk in a barn. And so, compared with Adam, you might think Michelangelo is making fun of us.
Sada se nalazite na kritičnoj tački tavanice. Upravo ste na mestu na kome vi i ja ne možemo dalje ići kroz crkvu. Ograđeni prostor nas drži podalje od unutrašnjeg svetilišta i prognani smo poput Adama i Eve. Preostale scene na tavanici oslikavaju gusti haos sveta oko nas. Imate Noja, njegovu barku i poplavu. Imate Noja. On prinosi žrtvu i ispunjava zavet dat bogu. Možda je spasitelj. O, ali ne, Noje je onaj koji je uzgajao grožđe, izmislio vino, napio se i onesvestio se go u svojoj štali. Zanimljiv način za uređivanje tavanice, počevši sa bogom koji stvara život, završivši sa nekim tipom mrtvim pijanim u štali. Stoga, u poređenju sa Adamom, možda biste pomislili da nas Mikelanđelo ismeva.
But he's about to dispel the gloom by using those bright colors right underneath Noah: emerald, topaz, scarlet on the prophet Zechariah. Zechariah foresees a light coming from the east, and we are turned at this juncture to a new destination, with sibyls and prophets who will lead us on a parade. You have the heroes and heroines who make safe the way, and we follow the mothers and fathers. They are the motors of this great human engine, driving it forward.
Međutim, ubrzo zatim će oterati mračno raspoloženja upotrebivši jarke boje upravo ispod Noja: smaragdnu, zlatno žutu i grimiznu na proroku Zahariji. Zaharija predviđa da će svetlo doći sa istoka i na toj prekretnici smo usmereni ka novom odredištu, sa prorocima i proročicama koji nas vode na paradu. Imate heroje i heroine koji pružaju sigurnost i sledimo majke i očeve. Oni su pokretači ovog velikog ustrojstva ljudi,
And now we're at the keystone of the ceiling,
oni koji ga vode napred.
the culmination of the whole thing, with a figure that looks like he's about to fall out of his space into our space, encroaching our space.
Sada smo na glavnoj tački tavanice, vrhuncu svega ovoga, sa figurom koja izgleda kao da će pasti iz svog prostora u naš prostor, zadirući u naš prostor.
This is the most important juncture. Past meets present. This figure, Jonah, who spent three days in the belly of the whale, for the Christians, is the symbol of the renewal of humanity through Jesus' sacrifice, but for the multitudes of visitors to that museum from all faiths who visit there every day, he is the moment the distant past encounters and meets immediate reality.
Ovo je najvažniji trenutak. Prošlost se susreće sa sadašnjošću. Ova figura Jone, koji je proveo tri dana u utrobi kita, za hrišćane predstavlja simbol preporoda čovečanstva kroz Isusovu žrtvu, ali za mnoštvo posetilaca ovom muzeju raznih vera koji ga svakodnevno obilaze, on je tačka u kojoj daleka prošlost sreće neposrednu stvarnost.
All of this brings us to the yawning archway of the altar wall, where we see Michelangelo's Last Judgment, painted in 1534 after the world had changed again. The Reformation had splintered the Church, the Ottoman Empire had made Islam a household word and Magellan had found a route into the Pacific Ocean. How is a 59-year-old artist who has never been any further than Venice going to speak to this new world? Michelangelo chose to paint destiny, that universal desire, common to all of us, to leave a legacy of excellence. Told in terms of the Christian vision of the Last Judgment, the end of the world, Michelangelo gave you a series of figures who are wearing these strikingly beautiful bodies. They have no more covers, no more portraits except for a couple. It's a composition only out of bodies, 391, no two alike, unique like each and every one of us. They start in the lower corner, breaking away from the ground, struggling and trying to rise. Those who have risen reach back to help others, and in one amazing vignette, you have a black man and a white man pulled up together in an incredible vision of human unity in this new world. The lion's share of the space goes to the winner's circle. There you find men and women completely nude like athletes. They are the ones who have overcome adversity, and Michelangelo's vision of people who combat adversity, overcome obstacles -- they're just like athletes. So you have men and women flexing and posing in this extraordinary spotlight. Presiding over this assembly is Jesus, first a suffering man on the cross, now a glorious ruler in Heaven. And as Michelangelo proved in his painting, hardship, setbacks and obstacles, they don't limit excellence, they forge it.
Sve ovo nas vodi do zapanjujućeg zasvođenog prolaza oltarskog zida, gde vidimo Mikelanđelov Strašni sud, naslikan 1534. godine, nakon što se svet ponovo promenio. Reformacija je dovela do rascepa Crkve, zbog Osmanskog carstva je islam postao uobičajena tema, a Magelan je otkrio prolaz koji vodi na Tihi okean. Kako će se umetnik od 59 godina koji nikad nije bio van Venecije obratiti tom novom svetu? Mikelanđelo je odlučio da slika sudbinu, tu univerzalnu želju, zajedničku svima nama, da za sobom ostavimo nešto izuzetno. Jezikom hrišćanskog viđenja strašnog suda, kraja sveta, Mikelađelo vam iznosi niz figura koje imaju upadljivo lepa tela. Nisu više prekrivene, nema portreta, osim par njih. To je kompozicija koju sačinjavaju isključivo tela, 391, sasvim različita, jedinstvena kao svako među nama. Počinju u donjem uglu, odvajajući se od zemlje, upinjući se i pokušavajući da se uzdignu. Oni koji su se uzdigli kreću ka drugima da bi im pomogli, a u jednoj izuzetnoj vinjeti, imate crnog i belog čoveka koje podižu zajedno u neverovatnoj viziji ljudskog jedinstva u ovom novom svetu. Najveći deo prostora pripada pobedničkom krugu. Tu ćete naći muškarce i žene koji su potpuno goli, kao sportisti. To su oni koji su prebrodili nedaće, a Mikelanđelovo viđenje ljudi koji su pobedili nedaće, prevazišli prepreke, je da su poput sportista. Dakle, imate muškarce i žene koji poziraju u savijenom položaju na ovoj izuzetnoj pozornici. Ovim skupom predsedava Isus, najpre čovek koji strada na krstu, sada veličanstveni vladar Raja. I, kao što je Mikelanđelo pokazao na svojoj slici, teškoće, zastoji i prepreke ne ograničavaju izvrsnost, već je stvaraju.
Now, this does lead us to one odd thing. This is the Pope's private chapel, and the best way you can describe that is indeed a stew of nudes. But Michelangelo was trying to use only the best artistic language, the most universal artistic language he could think of: that of the human body. And so instead of the way of showing virtue such as fortitude or self-mastery, he borrowed from Julius II's wonderful collection of sculptures in order to show inner strength as external power.
Ovo nas dovodi do jedne čudne stvari. Ovo je papina privatna kapela i najbolji način na koji je možete pisati je kao gomilu nagih tela. No, Mikelanđelo je pokušao da koristi isključivo najbolji umetnički jezik, najuniverzalniji umetnički jezik kog se mogao dosetiti - jezik ljudskog tela. Stoga je, umesto da pokaže vrlinu poput hrabrosti i samosavlađivanja, pozajmio je od Julija II i njegove sjajne zbirke skulptura kako bi pokazao unutrašnju jačinu kao spoljašnju snagu.
Now, one contemporary did write that the chapel was too beautiful to not cause controversy. And so it did. Michelangelo soon found that thanks to the printing press, complaints about the nudity spread all over the place, and soon his masterpiece of human drama was labeled pornography, at which point he added two more portraits, one of the man who criticized him, a papal courtier, and the other one of himself as a dried up husk, no athlete, in the hands of a long-suffering martyr. The year he died he saw several of these figures covered over, a triumph for trivial distractions over his great exhortation to glory.
Jedan savremenik je zapisao da je kapela toliko lepa da je morala izazvati polemiku. Tako je i bilo. Mikelanđelo je ubrzo otkrio da su se, zahvaljujući štamparskoj mašini, pritužbe zbog golotinje proširile svuda i uskoro je njegovo remek-delo ljudske drame označeno kao pornografija, a u tom trenutku je dodao još dva portreta - portret čoveka koji ga je kritikovao, papinog družbenika i svoj portret kao odrane kože, ne sportiste, u rukama velikomučenika. Godine kada je umro, video je kako nekoliko ovih figura pokrivaju, što je bio trijumf trivijalnih razbibriga
And so now we stand
nad njegovim sjajnim pozivanjem na veličanstvenost.
in the here and now. We are caught in that space between beginnings and endings, in the great, huge totality of the human experience. The Sistine Chapel forces us to look around as if it were a mirror. Who am I in this picture? Am I one of the crowd? Am I the drunk guy? Am I the athlete? And as we leave this haven of uplifting beauty, we are inspired to ask ourselves life's biggest questions: Who am I, and what role do I play in this great theater of life?
Sada se nalazimo ovde i sada. Zatekli smo se u tom prostoru među počecima i krajevima, u velikoj, ogromnoj sveukupnosti ljudskog iskustva. Sikstinska kapela nam nameće da razgledamo kao da je ogledalo. Ko sam ja na ovoj slici? Jesam li među onima u gomili? Da li sam pijanac? Da li sam sportista? I dok napuštamo ovo utočište uzvišene lepote, inspirisani smo da postavimo sebi najveća životna pitanja - ko sam ja i koju ulogu igram u ovom velikom pozorištu života?
Thank you.
Hvala.
(Applause)
(Aplauz)
Bruno Giussani: Elizabeth Lev, thank you.
Bruno Đuzani: Elizabet Lev, hvala ti.
Elizabeth, you mentioned this whole issue of pornography, too many nudes and too many daily life scenes and improper things in the eyes of the time. But actually the story is bigger. It's not just touching up and covering up some of the figures. This work of art was almost destroyed because of that.
Elizabet, pomenula si taj problem pornografije, previše nagih tela i previše scena svakodnevnog života i neprimerenosti u očima tog vremena. Međutim, priča obuhvata više od toga. Ne radi se samo o doterivanju i pokrivanju pojedinih figura. Ovo umetničko delo je zamalo uništeno zbog toga.
Elizabeth Lev: The effect of the Last Judgment was enormous. The printing press made sure that everybody saw it. And so, this wasn't something that happened within a couple of weeks. It was something that happened over the space of 20 years of editorials and complaints, saying to the Church, "You can't possibly tell us how to live our lives. Did you notice you have pornography in the Pope's chapel?" And so after complaints and insistence of trying to get this work destroyed, it was finally the year that Michelangelo died that the Church finally found a compromise, a way to save the painting, and that was in putting up these extra 30 covers, and that happens to be the origin of fig-leafing. That's where it all came about, and it came about from a church that was trying to save a work of art, not indeed deface or destroyed it.
Elizabet Lev: Uticaj Strašnog suda bio je ogromnih razmera. Štamparska mašina se postarala da ga svi vide. To nije nešto što se dogodilo za par nedelja. To je nešto što se događalo tokom perioda od 20 godina uredničkih članaka i pritužbi, obraćanja Crkvi sa: „Ne možete da nam kažete kako da živimo naše živote. Jeste li primetili da imate pornografiju u papinoj kapeli?“ I tako je, nakon žalbi i insistiranja kojima se nastojalo uništiti njegovo delo, najzad je u godini Mikelanđelove smrti Crkva konačno pronašla kompromisno rešenje, način da spasi sliku, a to je bilo dodavanje tih 30 odevnih elemenata, a to je slučajno i početak pokrivanja listovima smokve. Tako se sve to odigralo, a poteklo je iz crkve koja je pokušavala da spasi umetničko delo, a ne da ga unakazi ili uništi.
BG: This, what you just gave us, is not the classic tour that people get today when they go to the Sistine Chapel.
BĐ: Ovo što si nam ti upravo pružila nije klasični obilazak koji ljudi danas dobiju kada odu u Sikstinsku kapelu.
(Laughter)
(Smeh)
EL: I don't know, is that an ad?
EL: Ne znam, da li je to reklama?
(Laughter)
(Smeh)
BG: No, no, no, not necessarily, it is a statement. The experience of art today is encountering problems. Too many people want to see this there, and the result is five million people going through that tiny door and experiencing it in a completely different way than we just did.
BĐ: Ne, ne, ne nužno, to je izjava. Današnji umetnički doživljaj nailazi na probleme. Previše ljudi želi da ovo vidi tamo, a rezultat je pet miliona ljudi koji prolaze kroz ta mala vrata i doživljavaju to na potpuno drugačiji način nego što smo mi upravo.
EL: Right. I agree. I think it's really nice to be able to pause and look. But also realize, even when you're in those days, with 28,000 people a day, even those days when you're in there with all those other people, look around you and think how amazing it is that some painted plaster from 500 years ago can still draw all those people standing side by side with you, looking upwards with their jaws dropped. It's a great statement about how beauty truly can speak to us all through time and through geographic space.
EL: Da. Slažem se. Mislim da je stvarno fino moći zastati i gledati. No, isto tako shvatite, čak i kada ste tih dana, sa 28 000 ljudi dnevno, čak i tih dana kada ste tamo sa svim tim ljudima, pogledajte oko sebe i pomislite koliko je neverovatno da oslikani malter od pre 500 godina još može da privuče sve te ljude koji stoje jedni uz druge sa tobom, dok gledaju nagore otvorenih usta. To je sjajan iskaz o tome kako se lepota zaista može obratiti svakome od nas kroz različita vremena i geografsku udaljenost.
BG: Liz, grazie.
BĐ: Liz, hvala.
EL: Grazie a te.
EL: Hvala tebi.
BG: Thank you.
BĐ: Hvala.
(Applause)
(Aplauz)