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Elizabeth Lev: The unheard story of the Sistine Chapel
Elizabet Lev (Elizabeth Lev): Nepoznata priča o Sikstinskoj kapeli
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Sikstinska kapela je jedna od najupečatljivijih građevina na planeti, ali postoji mnogo toga što verovatno ne znate o njoj. U ovom impozantnom govoru, istoričarka umetnosti, Elizabet Lev, sprovodi nas kroz poznatu tavanicu ove čuvene građevine i kroz Mikelanđelove živahne prikaze tradicionalnih priča, pokazujući kako je slikar prevazišao religijsku ikonografiju tog vremena da bi plovio novim umetničkim vodama. Pet stotina godina nakon što ju je umetnik oslikao, kaže Levova, Sikstinska kapela nam nameće da razgledamo kao da je ogledalo i zapitamo se: „Ko sam ja i koju ulogu igram u ovom velikom pozorištu života?“
Elizabeth Lev - Art historian
Elizabeth Lev's experience studying and teaching art has led her to believe that when we encounter something beautiful, we are made vulnerable and opened to the truth. Full bio
Elizabeth Lev's experience studying and teaching art has led her to believe that when we encounter something beautiful, we are made vulnerable and opened to the truth. Full bio
Double-click the English transcript below to play the video.
00:12
Imagine you're in Rome,
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Zamislite da ste u Rimu
00:14
and you've made your way
to the Vatican Museums.
to the Vatican Museums.
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i prispeli ste do Vatikanskih muzeja.
00:18
And you've been shuffling
down long corridors,
down long corridors,
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Vukli ste se kroz dugačke hodnike,
00:21
past statues, frescoes,
lots and lots of stuff.
lots and lots of stuff.
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pored statua, fresaka
i mnogih drugih stvari.
i mnogih drugih stvari.
00:26
You're heading towards the Sistine Chapel.
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Uputili ste se ka Sikstinskoj kapeli.
00:28
At last -- a long corridor,
a stair and a door.
a stair and a door.
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Konačno - dugačak hodnik,
stepenik i vrata.
stepenik i vrata.
00:34
You're at the threshold
of the Sistine Chapel.
of the Sistine Chapel.
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Nalazite se na pragu Sikstinske kapele.
00:37
So what are you expecting?
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Pa, šta očekujete?
00:38
Soaring domes? Choirs of angels?
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Uzdignute zvonike? Horove anđela?
00:41
We don't really have any of that there.
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Nemamo ništa od toga tamo.
00:44
Instead, you may ask yourself,
what do we have?
what do we have?
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Umesto toga, možda se pitate, šta imamo?
00:48
Well, curtains up on the Sistine Chapel.
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Pa, zavese preko Sikstinske kapele.
00:50
And I mean literally, you're surrounded
by painted curtains,
by painted curtains,
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Mislim, bukvalno ste okruženi
oslikanim zavesama,
oslikanim zavesama,
00:53
the original decoration of this chapel.
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originalnim ukrasima ove kapele.
00:56
Churches used tapestries not just
to keep out cold during long masses,
to keep out cold during long masses,
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Crkve su koristile tapiserije
ne samo radi zaštite od hladnoće
tokom dugih službi,
tokom dugih službi,
već i kao način predstavljanja
velikog pozorišta života.
velikog pozorišta života.
01:00
but as a way to represent
the great theater of life.
the great theater of life.
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01:04
The human drama in which each one of us
plays a part is a great story,
plays a part is a great story,
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Ljudska drama
u kojoj svako od nas igra ulogu
u kojoj svako od nas igra ulogu
predstavlja veliku priču,
priču koja obuhvata ceo svet
priču koja obuhvata ceo svet
01:09
a story that encompasses the whole world
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01:12
and that came to unfold
in the three stages
in the three stages
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i koja se razotkriva u tri nivoa
01:15
of the painting in the Sistine Chapel.
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na oslikanoj površini Sikstinske kapele.
01:18
Now, this building started out
as a space for a small group
as a space for a small group
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Ova zgrada je započeta
kao prostor za malu grupu bogatih,
kao prostor za malu grupu bogatih,
01:21
of wealthy, educated Christian priests.
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obrazovanih hrišćanskih sveštenika.
01:24
They prayed there.
They elected their pope there.
They elected their pope there.
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Tu su se molili. Tu su odabirali papu.
01:27
Five hundred years ago,
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Pre petsto godina,
01:28
it was the ultimate
ecclesiastical man cave.
ecclesiastical man cave.
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bilo je to vrhunsko utočište
za sveštenike.
za sveštenike.
01:31
So, you may ask, how can it be
that today it attracts and delights
that today it attracts and delights
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Pa, možda se pitate,
kako to da danas privlači i očarava
kako to da danas privlači i očarava
01:37
five million people a year,
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pet miliona ljudi godišnje,
01:40
from all different backgrounds?
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sasvim različitog porekla?
01:42
Because in that compressed space,
there was a creative explosion,
there was a creative explosion,
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Zato što se u tom sabijenom prostoru
odvijala kreativna eksplozija,
odvijala kreativna eksplozija,
01:46
ignited by the electric excitement
of new geopolitical frontiers,
of new geopolitical frontiers,
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podstaknuta intenzivnim uzbuđenjem
zbog novih geopolitičkih granica,
zbog novih geopolitičkih granica,
01:51
which set on fire the ancient
missionary tradition of the Church
missionary tradition of the Church
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što je zapalilo drevnu
misionarsku tradiciju Crkve
misionarsku tradiciju Crkve
01:56
and produced one of the greatest
works of art in history.
works of art in history.
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i stvorilo jedno od najvećih dela
u istoriji umetnosti.
u istoriji umetnosti.
02:00
Now, this development took place
as a great evolution,
as a great evolution,
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Ovaj razvoj se odigrao
kao velika evolucija,
kao velika evolucija,
napravivši pomak od svog početka,
od nekolicine pripadnika elite
od nekolicine pripadnika elite
02:04
moving from the beginning of a few elite,
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02:07
and eventually able to speak
to audiences of people
to audiences of people
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da bi najzad mogao da se obrati
čitavoj publici ljudi
čitavoj publici ljudi
02:10
that come from all over the world.
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koja pristiže iz svih krajeva sveta.
02:13
This evolution took place in three stages,
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Ovaj razvoj se odigrao u tri faze,
02:16
each one linked
to a historical circumstance.
to a historical circumstance.
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od kojih je svaka vezana
za istorijske okolnosti.
za istorijske okolnosti.
02:19
The first one was rather limited in scope.
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Prva je bila prilično ograničenog dometa.
02:21
It reflected the rather
parochial perspective.
parochial perspective.
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Odražavala je perspektivu
koja je bila prilično palanačka.
koja je bila prilično palanačka.
02:24
The second one took place after
worldviews were dramatically altered
worldviews were dramatically altered
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Druga se desila nakon dramatičnih izmena
u pogledima na svet
u pogledima na svet
02:28
after Columbus's historical voyage;
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po Kolumbovom istorijskom putovanju;
02:31
and the third,
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a treća,
kada je uveliko bilo u toku
razdoblje velikih geografskih otkrića,
razdoblje velikih geografskih otkrića,
02:32
when the Age of Discovery
was well under way
was well under way
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02:35
and the Church rose to the challenge
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a crkva je bila dorasla izazovu
da postane globalna.
da postane globalna.
02:38
of going global.
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02:40
The original decoration of this church
reflected a smaller world.
reflected a smaller world.
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Prvobitni ukrasi u ovoj crkvi
odražavali su manji svet.
odražavali su manji svet.
02:44
There were busy scenes
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Tu su bile užurbane scene
02:45
that told the stories of the lives
of Jesus and Moses,
of Jesus and Moses,
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koje su iznosile priče
o životu Isusa i Mojsija,
o životu Isusa i Mojsija,
02:49
reflecting the development
of the Jewish and Christian people.
of the Jewish and Christian people.
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prikazujući razvoj
jevrejskog i hrišćanskog naroda.
jevrejskog i hrišćanskog naroda.
02:53
The man who commissioned this,
Pope Sixtus IV,
Pope Sixtus IV,
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Čovek koji je ovo naručio,
Papa Sikst IV,
Papa Sikst IV,
02:56
assembled a dream team of Florentine art,
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okupio je tim snova firentinske umetnosti,
02:59
including men like Sandro Botticelli
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uključujući ljude
kao što je Sandro Botičeli
kao što je Sandro Botičeli
03:02
and the man who would become
Michelangelo's future painting teacher,
Michelangelo's future painting teacher,
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i čovek koji će kasnije postati
Mikelanđelov učitelj slikanja,
Mikelanđelov učitelj slikanja,
03:05
Ghirlandaio.
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Girlandajo.
03:07
These men, they blanketed the walls
with a frieze of pure color,
with a frieze of pure color,
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Ti ljudi su prekrili zidove
frizom čistih boja,
frizom čistih boja,
03:12
and in these stories you'll notice
familiar landscapes,
familiar landscapes,
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a u tim pričama ćete primetiti
poznate pejzaže.
poznate pejzaže.
03:16
the artists using Roman monuments
or a Tuscan landscape
or a Tuscan landscape
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Umetnici su koristili rimske spomenike
ili pejzaže Toskane
ili pejzaže Toskane
03:20
to render a faraway story,
something much more familiar.
something much more familiar.
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da bi prizvale daleku priču,
nešto mnogo poznatije.
nešto mnogo poznatije.
Uz dodate slike
papinih prijatelja i porodice,
papinih prijatelja i porodice,
03:23
With the addition of images
of the Pope's friends and family,
of the Pope's friends and family,
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03:27
this was a perfect decoration
for a small court
for a small court
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ovo je bila savršena dekoracija
za malu palatu
za malu palatu
03:29
limited to the European continent.
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ograničenu samo na evropski kontinent.
03:32
But in 1492, the New World was discovered,
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Međutim, 1492. godine
otkriven je Novi svet
otkriven je Novi svet
03:37
horizons were expanding,
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i širili su se vidici,
03:39
and this little 133 by 46-foot
microcosm had to expand as well.
microcosm had to expand as well.
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pa je i ovaj mikrokosmos
od 40 sa 14 metara morao da se proširi.
od 40 sa 14 metara morao da se proširi.
03:45
And it did,
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I jeste,
03:46
thanks to a creative genius,
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zahvaljujući kreativnom geniju,
03:48
a visionary and an awesome story.
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vizionaru i sjajnoj priči.
Kreativni genije je bio
Mikelanđelo Buonaroti,
Mikelanđelo Buonaroti,
03:52
Now, the creative genius
was Michelangelo Buonarroti,
was Michelangelo Buonarroti,
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koji je imao 33 godine kada su ga izabrali
03:54
33 years old when he was tapped
to decorate 12,000 square feet of ceiling,
to decorate 12,000 square feet of ceiling,
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da ukrasi tavanicu
površine 1 115 kvadratnih metara,
površine 1 115 kvadratnih metara,
03:59
and the deck was stacked against him --
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i stvari mu nisu išle na ruku -
obučio se da bude slikar,
obučio se da bude slikar,
04:01
he had trained in painting
but had left to pursue sculpture.
but had left to pursue sculpture.
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ali je to napustio
da bi se bavio skulpturom.
da bi se bavio skulpturom.
04:04
There were angry patrons in Florence
because he had left a stack
because he had left a stack
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Bilo je ljutih mecena u Firenci
jer je ostavio gomilu
jer je ostavio gomilu
04:07
of incomplete commissions,
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nezavršenih narudžbina,
04:09
lured to Rome by the prospect
of a great sculptural project,
of a great sculptural project,
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jer ga je u Rim namamila mogućnost
velikog skulptorskog projekta,
velikog skulptorskog projekta,
04:12
and that project had fallen through.
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a taj projekat je propao.
04:15
And he had been left with a commission
to paint 12 apostles
to paint 12 apostles
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Ostala mu je narudžbina
da naslika 12 apostola
da naslika 12 apostola
04:18
against a decorative background
in the Sistine Chapel ceiling,
in the Sistine Chapel ceiling,
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na ukrasnoj pozadini
tavanice Sikstinske kapele,
tavanice Sikstinske kapele,
04:21
which would look like
every other ceiling in Italy.
every other ceiling in Italy.
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koja bi izgledala
kao bilo koja druga tavanica u Italiji.
kao bilo koja druga tavanica u Italiji.
04:25
But genius rose to the challenge.
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Ipak, genije je bio dorastao izazovu.
04:27
In an age when a man dared
to sail across the Atlantic Ocean,
to sail across the Atlantic Ocean,
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U doba kada se čovek usudio
da plovi Atlantskim okeanom,
da plovi Atlantskim okeanom,
04:30
Michelangelo dared to chart
new artistic waters.
new artistic waters.
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Mikelanđelo se usudio da krstari
novim umetičkim vodama.
novim umetičkim vodama.
04:35
He, too, would tell a story --
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On će, takođe, ispričati priču -
04:37
no Apostles -- but a story
of great beginnings,
of great beginnings,
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ne o apostolima, već o velikim počecima,
04:40
the story of Genesis.
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priču o postanju.
04:43
Not really an easy sell,
stories on a ceiling.
stories on a ceiling.
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Ne prolaze baš tako lako
te priče na tavanici.
te priče na tavanici.
04:46
How would you be able to read
a busy scene from 62 feet below?
a busy scene from 62 feet below?
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Kako biste mogli da razaznate
užurbanu scenu 19 metara ispod nje?
užurbanu scenu 19 metara ispod nje?
04:50
The painting technique that had been
handed on for 200 years
handed on for 200 years
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Slikarska tehnika
koja se tokom 200 godina prenosila
koja se tokom 200 godina prenosila
04:53
in Florentine studios was not equipped
for this kind of a narrative.
for this kind of a narrative.
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u firentinskim ateljeima nije bila spremna
za ovakvu vrstu priče.
za ovakvu vrstu priče.
04:57
But Michelangelo wasn't really a painter,
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No, Mikelanđelo nije stvarno bio slikar,
05:00
and so he played to his strengths.
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pa je radio šta je mogao.
05:02
Instead of being accustomed
to filling space with busyness,
to filling space with busyness,
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Umesto uobičajenog
popunjavanja prostora užurbanošću,
popunjavanja prostora užurbanošću,
05:06
he took a hammer and chisel
and hacked away at a piece of marble
and hacked away at a piece of marble
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uzeo je čekić i dleto
i odlomio delić mermera
i odlomio delić mermera
05:10
to reveal the figure within.
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da bi pokazao figuru unutra.
05:12
Michelangelo was an essentialist;
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Mikelanđelo je bio esencijalist;
05:14
he would tell his story
in massive, dynamic bodies.
in massive, dynamic bodies.
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pričao je svoju priču
kroz snažna, dinamična tela.
kroz snažna, dinamična tela.
05:19
This plan was embraced
by the larger-than-life Pope Julius II,
by the larger-than-life Pope Julius II,
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Taj plan je prihvatio
upečatljivi papa Julije II,
upečatljivi papa Julije II,
05:24
a man who was unafraid
of Michelangelo's brazen genius.
of Michelangelo's brazen genius.
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čovek koji nije zazirao
od Mikelanđelove smele genijalnosti.
od Mikelanđelove smele genijalnosti.
05:27
He was nephew to Pope Sixtus IV,
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Bio je bratanac pape Siksta IV,
05:29
and he had been steeped in art
for 30 years and he knew its power.
for 30 years and he knew its power.
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bio je prisutan u umetnosti 30 godina
i bio je svestan njene moći.
i bio je svestan njene moći.
05:33
And history has handed down the moniker
of the Warrior Pope,
of the Warrior Pope,
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Istorija mu je nadenula
nadimak pape ratnika,
nadimak pape ratnika,
05:36
but this man's legacy to the Vatican --
it wasn't fortresses and artillery,
it wasn't fortresses and artillery,
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ali zaveštanje ovog čoveka Vatikanu -
to nisu tvrđave i artiljerija,
to nisu tvrđave i artiljerija,
05:40
it was art.
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već umetnost.
05:42
He left us the Raphael Rooms,
the Sistine Chapel.
the Sistine Chapel.
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Ostavio nam je Rafaelove sobe,
Sikstinsku kapelu.
Sikstinsku kapelu.
05:44
He left St. Peter's Basilica
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Ostavio je Baziliku sv. Petra,
05:46
as well as an extraordinary collection
of Greco-Roman sculptures --
of Greco-Roman sculptures --
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kao i izvanrednu zbirku
grčko-rimskih skulptura -
grčko-rimskih skulptura -
05:52
decidedly un-Christian works
that would become the seedbed
that would become the seedbed
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izrazito nehrišćanske radove,
koja će postati kolevka
koja će postati kolevka
05:56
of the world's first modern museum,
the Vatican Museums.
the Vatican Museums.
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prvog svetskog modernog muzeja,
Vatikanskih muzeja.
Vatikanskih muzeja.
06:00
Julius was a man
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Julije je bio čovek
06:02
who envisioned a Vatican
that would be eternally relevant
that would be eternally relevant
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koji je predviđao da će Vatikan
biti večno od značaja
biti večno od značaja
06:06
through grandeur and through beauty,
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kroz raskoš i lepotu
06:08
and he was right.
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i bio je u pravu.
06:09
The encounter between these two giants,
Michelangelo and Julius II,
Michelangelo and Julius II,
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Susret između ove dve veličine,
Mikelanđela i Julija II -
Mikelanđela i Julija II -
06:14
that's what gave us the Sistine Chapel.
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to je ono što nam je omogućilo
da imamo Sikstinsku kapelu.
da imamo Sikstinsku kapelu.
06:17
Michelangelo was so committed
to this project,
to this project,
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Mikelanđelo je bio
toliko posvećen projektu
toliko posvećen projektu
06:20
that he succeeded in getting the job done
in three and a half years,
in three and a half years,
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da je uspeo da završi posao
za tri i po godine,
za tri i po godine,
06:24
using a skeleton crew and spending
most of the time, hours on end,
most of the time, hours on end,
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uz minimum pomoćnika i provodeći
većinu vremena, nekoliko sati bez prekida,
većinu vremena, nekoliko sati bez prekida,
06:29
reaching up above his head
to paint the stories on the ceiling.
to paint the stories on the ceiling.
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dosežući iznad svoje glave
da bi naslikao priče na tavanici.
da bi naslikao priče na tavanici.
06:33
So let's look at this ceiling
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Hajde da pogledamo ovu tavanicu
06:35
and see storytelling gone global.
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i vidimo kako pripovedanje
postaje globalno.
postaje globalno.
06:38
No more familiar artistic references
to the world around you.
to the world around you.
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Nema više poznatih umetničkih aluzija
na svet oko nas.
na svet oko nas.
06:42
There's just space
and structure and energy;
and structure and energy;
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Postoji samo prostor,
struktura i energija;
struktura i energija;
06:47
a monumental painted framework
which opens onto nine panels,
which opens onto nine panels,
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monumentalni oslikani okvir
koji sadrži devet segmenata,
koji sadrži devet segmenata,
06:52
more driven by sculptural form
than painterly color.
than painterly color.
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pod većim uticajem skulpturalnog oblika
nego slikarske boje.
nego slikarske boje.
06:56
And we stand in the far end
by the entrance,
by the entrance,
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Stojimo na samom kraju pokraj ulaza,
06:59
far from the altar and from the gated
enclosure intended for the clergy
enclosure intended for the clergy
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daleko od oltara i ograđenog prostora
predviđenog za sveštenike,
predviđenog za sveštenike,
07:03
and we peer into the distance,
looking for a beginning.
looking for a beginning.
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zagledani u daljinu,
tragajući za početkom.
tragajući za početkom.
07:09
And whether in scientific inquiry
or in biblical tradition,
or in biblical tradition,
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Bilo da su u pitanju okviri
naučne potrage ili biblijske tradicije,
naučne potrage ili biblijske tradicije,
07:13
we think in terms of a primal spark.
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naša razmišljanja su vezana
za iskonsku iskru.
za iskonsku iskru.
07:16
Michelangelo gave us an initial energy
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Mikelanđelo nam je dao početnu energiju
07:18
when he gave us the separation
of light and dark,
of light and dark,
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kada nam je dao razdvajanje
svetlosti i tame,
svetlosti i tame,
07:21
a churning figure blurry in the distance,
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uzburkane mutne figure u daljini,
07:24
compressed into a tight space.
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zbijene na uskom prostoru.
07:27
The next figure looms larger,
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Sledeća figura se nazire kao veća
07:29
and you see a figure hurtling
from one side to the next.
from one side to the next.
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i vidite figuru koja juri
sa jedne strane na drugu.
sa jedne strane na drugu.
07:33
He leaves in his wake
the sun, the moon, vegetation.
the sun, the moon, vegetation.
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Ostavlja za sobom sunce, mesec, rastinje.
07:38
Michelangelo didn't focus
on the stuff that was being created,
on the stuff that was being created,
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Mikelanđelo nije bio fokusiran
na stvari koje su stvarane,
na stvari koje su stvarane,
07:42
unlike all the other artists.
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za razliku od drugih umetnika.
07:44
He focused on the act of creation.
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Bio je usredsređen na čin stvaranja.
07:47
And then the movement stops,
like a caesura in poetry
like a caesura in poetry
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A zatim pokret prestaje,
kao cezura u poeziji
kao cezura u poeziji
i Stvoritelj lebdi u vazduhu.
07:52
and the creator hovers.
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07:53
So what's he doing?
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Šta to radi?
07:54
Is he creating land? Is he creating sea?
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Da li stvara zemlju? Da li stvara more?
07:57
Or is he looking back over his handiwork,
the universe and his treasures,
the universe and his treasures,
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Ili sagledava delo svojih ruku,
univerzum i njegova blaga,
univerzum i njegova blaga,
baš kao što je to
verovatno činio i Mikelanđelo,
verovatno činio i Mikelanđelo,
08:02
just like Michelangelo must have,
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08:04
looking back over his work in the ceiling
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pogledavši svoje delo na tavanici
08:06
and proclaiming, "It is good."
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i dajući na znanje: „Dobro je.“
08:10
So now the scene is set,
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Scena je sada postavljena
08:12
and you get to the culmination
of creation, which is man.
of creation, which is man.
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i stižete do kulminacije stvaranja,
a to je čovek.
a to je čovek.
08:16
Adam leaps to the eye, a light figure
against a dark background.
against a dark background.
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Adam upada u oči, svetla figura
na tamnoj pozadini.
na tamnoj pozadini.
08:20
But looking closer,
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Međutim, ako pogledamo bliže,
08:22
that leg is pretty languid on the ground,
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noga na zemlji je prilično militava,
08:25
the arm is heavy on the knee.
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ruka naleže svojom težinom na koleno.
08:27
Adam lacks that interior spark
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Adamu nedostaje ta unutrašnja iskra
08:31
that will impel him to greatness.
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koja će ga povući u visine.
08:33
That spark is about to be conferred
by the creator in that finger,
by the creator in that finger,
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Tu iskru će mu upravo predati
Stvoritelj kroz taj prst,
Stvoritelj kroz taj prst,
08:38
which is one millimeter
from the hand of Adam.
from the hand of Adam.
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koji se nalazi na milimetar
od Adamove ruke.
od Adamove ruke.
08:40
It puts us at the edge of our seats,
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To nas dovodi u stanje napetosti,
08:42
because we're one moment
from that contact,
from that contact,
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jer se nalazimo na trenutak
od tog kontakta,
od tog kontakta,
08:45
through which that man
will discover his purpose,
will discover his purpose,
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kroz koji će taj čovek
otkriti svoju svrhu,
otkriti svoju svrhu,
08:48
leap up and take his place
at the pinnacle of creation.
at the pinnacle of creation.
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poskočiti i zauzeti svoje mesto
na samom vrhuncu stvaranja.
na samom vrhuncu stvaranja.
08:51
And then Michelangelo threw a curveball.
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Zatim Mikelanđelo unosi iznenađenje.
08:55
Who is in that other arm?
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Ko je u toj drugoj ruci?
08:57
Eve, first woman.
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Eva, prva žena.
08:59
No, she's not an afterthought.
She's part of the plan.
She's part of the plan.
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Ne, ona nije naknadno smišljena.
Ona je deo plana.
Ona je deo plana.
Oduvek mu je bila na umu.
09:02
She's always been in his mind.
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09:04
Look at her, so intimate with God
that her hand curls around his arm.
that her hand curls around his arm.
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Pogledajte je, tako prisna sa Bogom
da se njena šaka uvija oko njegove ruke.
da se njena šaka uvija oko njegove ruke.
09:09
And for me, an American art historian
from the 21st century,
from the 21st century,
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Za mene, američkog istoričara umetnosti
iz 21. veka, ovo je bio trenutak
iz 21. veka, ovo je bio trenutak
09:14
this was the moment
that the painting spoke to me.
that the painting spoke to me.
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kada mi se slika obratila,
09:17
Because I realized that this
representation of the human drama
representation of the human drama
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jer sam shvatila
da je ovaj prikaz ljudske drame
da je ovaj prikaz ljudske drame
09:21
was always about men and women --
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oduvek bio vezan za muškarca i ženu -
09:23
so much so, that the dead center,
the heart of the ceiling,
the heart of the ceiling,
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u toj meri da je u mrtvoj tački,
u središtu tavanice,
u središtu tavanice,
09:27
is the creation of woman, not Adam.
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stvaranje žene, ne Adama.
09:30
And the fact is, that when you see them
together in the Garden of Eden,
together in the Garden of Eden,
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Zapravo, kada ih vidite zajedno
u rajskom vrtu,
u rajskom vrtu,
09:34
they fall together
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zajednički padaju
09:35
and together their proud posture
turns into folded shame.
turns into folded shame.
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i zajednički njihovo ponosno držanje
postaje pognuti sram.
postaje pognuti sram.
09:40
You are at critical juncture
now in the ceiling.
now in the ceiling.
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Sada se nalazite
na kritičnoj tački tavanice.
na kritičnoj tački tavanice.
09:43
You are exactly at the point
where you and I can go
where you and I can go
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Upravo ste na mestu
na kome vi i ja ne možemo
na kome vi i ja ne možemo
09:46
no further into the church.
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dalje ići kroz crkvu.
09:47
The gated enclosure keeps us
out of the inner sanctum,
out of the inner sanctum,
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Ograđeni prostor nas drži podalje
od unutrašnjeg svetilišta
od unutrašnjeg svetilišta
09:51
and we are cast out
much like Adam and Eve.
much like Adam and Eve.
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i prognani smo poput Adama i Eve.
09:53
The remaining scenes in the ceiling,
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Preostale scene na tavanici
09:55
they mirror the crowded chaos
of the world around us.
of the world around us.
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oslikavaju gusti haos sveta oko nas.
09:58
You have Noah and his Ark and the flood.
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Imate Noja, njegovu barku i poplavu.
10:00
You have Noah. He's making a sacrifice
and a covenant with God.
and a covenant with God.
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Imate Noja. On prinosi žrtvu
i ispunjava zavet dat bogu.
i ispunjava zavet dat bogu.
10:04
Maybe he's the savior.
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Možda je spasitelj.
10:06
Oh, but no, Noah is the one
who grew grapes, invented wine,
who grew grapes, invented wine,
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3732
O, ali ne, Noje je onaj
koji je uzgajao grožđe, izmislio vino,
koji je uzgajao grožđe, izmislio vino,
10:09
got drunk and passed out
naked in his barn.
naked in his barn.
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napio se i onesvestio se
go u svojoj štali.
go u svojoj štali.
10:12
It is a curious way to design the ceiling,
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Zanimljiv način za uređivanje tavanice,
10:14
now starting out with God creating life,
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počevši sa bogom koji stvara život,
završivši sa nekim tipom
mrtvim pijanim u štali.
mrtvim pijanim u štali.
10:16
ending up with some guy
blind drunk in a barn.
blind drunk in a barn.
190
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10:19
And so, compared with Adam,
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Stoga, u poređenju sa Adamom,
10:21
you might think Michelangelo
is making fun of us.
is making fun of us.
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možda biste pomislili
da nas Mikelanđelo ismeva.
da nas Mikelanđelo ismeva.
Međutim, ubrzo zatim će oterati
mračno raspoloženja
mračno raspoloženja
10:24
But he's about to dispel the gloom
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10:26
by using those bright colors
right underneath Noah:
right underneath Noah:
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3518
upotrebivši jarke boje upravo ispod Noja:
10:30
emerald, topaz, scarlet
on the prophet Zechariah.
on the prophet Zechariah.
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smaragdnu, zlatno žutu i grimiznu
na proroku Zahariji.
na proroku Zahariji.
10:33
Zechariah foresees a light
coming from the east,
coming from the east,
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Zaharija predviđa
da će svetlo doći sa istoka
da će svetlo doći sa istoka
10:36
and we are turned at this juncture
to a new destination,
to a new destination,
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i na toj prekretnici smo usmereni
ka novom odredištu,
ka novom odredištu,
10:40
with sibyls and prophets
who will lead us on a parade.
who will lead us on a parade.
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sa prorocima i proročicama
koji nas vode na paradu.
koji nas vode na paradu.
10:44
You have the heroes and heroines
who make safe the way,
who make safe the way,
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Imate heroje i heroine
koji pružaju sigurnost
koji pružaju sigurnost
10:47
and we follow the mothers and fathers.
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i sledimo majke i očeve.
10:50
They are the motors of this great
human engine, driving it forward.
human engine, driving it forward.
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Oni su pokretači
ovog velikog ustrojstva ljudi,
ovog velikog ustrojstva ljudi,
oni koji ga vode napred.
10:54
And now we're at the keystone
of the ceiling,
of the ceiling,
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Sada smo na glavnoj tački tavanice,
10:57
the culmination of the whole thing,
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vrhuncu svega ovoga,
10:59
with a figure that looks like
he's about to fall out of his space
he's about to fall out of his space
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3230
sa figurom koja izgleda
kao da će pasti iz svog prostora
kao da će pasti iz svog prostora
11:02
into our space,
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u naš prostor,
zadirući u naš prostor.
11:04
encroaching our space.
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11:05
This is the most important juncture.
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Ovo je najvažniji trenutak.
11:07
Past meets present.
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1872
Prošlost se susreće sa sadašnjošću.
11:09
This figure, Jonah, who spent
three days in the belly of the whale,
three days in the belly of the whale,
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Ova figura Jone, koji je proveo
tri dana u utrobi kita,
tri dana u utrobi kita,
za hrišćane predstavlja simbol
preporoda čovečanstva
preporoda čovečanstva
11:13
for the Christians, is the symbol
of the renewal of humanity
of the renewal of humanity
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kroz Isusovu žrtvu,
11:15
through Jesus' sacrifice,
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ali za mnoštvo posetilaca ovom muzeju
11:17
but for the multitudes
of visitors to that museum
of visitors to that museum
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2748
11:19
from all faiths who visit there every day,
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raznih vera koji ga svakodnevno obilaze,
11:22
he is the moment the distant past
encounters and meets immediate reality.
encounters and meets immediate reality.
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on je tačka u kojoj daleka prošlost
sreće neposrednu stvarnost.
sreće neposrednu stvarnost.
11:30
All of this brings us to the yawning
archway of the altar wall,
archway of the altar wall,
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Sve ovo nas vodi do zapanjujućeg
zasvođenog prolaza oltarskog zida,
zasvođenog prolaza oltarskog zida,
11:34
where we see Michelangelo's Last Judgment,
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2763
gde vidimo Mikelanđelov Strašni sud,
11:37
painted in 1534 after the world
had changed again.
had changed again.
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naslikan 1534. godine,
nakon što se svet ponovo promenio.
nakon što se svet ponovo promenio.
11:41
The Reformation had splintered the Church,
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2024
Reformacija je dovela do rascepa Crkve,
11:43
the Ottoman Empire had made
Islam a household word
Islam a household word
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2868
zbog Osmanskog carstva
je islam postao uobičajena tema,
je islam postao uobičajena tema,
11:46
and Magellan had found a route
into the Pacific Ocean.
into the Pacific Ocean.
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3494
a Magelan je otkrio prolaz
koji vodi na Tihi okean.
koji vodi na Tihi okean.
11:49
How is a 59-year-old artist who has never
been any further than Venice
been any further than Venice
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Kako će se umetnik od 59 godina
koji nikad nije bio van Venecije
koji nikad nije bio van Venecije
11:54
going to speak to this new world?
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2194
obratiti tom novom svetu?
11:56
Michelangelo chose to paint destiny,
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3043
Mikelanđelo je odlučio da slika sudbinu,
11:59
that universal desire,
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1820
tu univerzalnu želju,
12:01
common to all of us,
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1620
zajedničku svima nama,
12:03
to leave a legacy of excellence.
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3169
da za sobom ostavimo nešto izuzetno.
12:06
Told in terms of the Christian vision
of the Last Judgment,
of the Last Judgment,
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2931
Jezikom hrišćanskog viđenja strašnog suda,
12:09
the end of the world,
228
717450
1312
kraja sveta,
12:10
Michelangelo gave you a series of figures
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3138
Mikelađelo vam iznosi niz figura
12:13
who are wearing these
strikingly beautiful bodies.
strikingly beautiful bodies.
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3155
koje imaju upadljivo lepa tela.
12:17
They have no more covers,
no more portraits
no more portraits
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Nisu više prekrivene, nema portreta,
12:19
except for a couple.
232
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osim par njih.
12:21
It's a composition only out of bodies,
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To je kompozicija
koju sačinjavaju isključivo tela,
koju sačinjavaju isključivo tela,
12:23
391, no two alike,
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3386
391, sasvim različita,
12:27
unique like each and every one of us.
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2454
jedinstvena kao svako među nama.
12:29
They start in the lower corner,
breaking away from the ground,
breaking away from the ground,
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3742
Počinju u donjem uglu,
odvajajući se od zemlje,
odvajajući se od zemlje,
12:33
struggling and trying to rise.
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upinjući se i pokušavajući da se uzdignu.
Oni koji su se uzdigli
kreću ka drugima da bi im pomogli,
kreću ka drugima da bi im pomogli,
12:36
Those who have risen
reach back to help others,
reach back to help others,
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12:38
and in one amazing vignette,
239
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1837
a u jednoj izuzetnoj vinjeti,
12:40
you have a black man and a white man
pulled up together
pulled up together
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3092
imate crnog i belog čoveka
koje podižu zajedno
koje podižu zajedno
12:43
in an incredible vision of human unity
241
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2722
u neverovatnoj viziji ljudskog jedinstva
12:46
in this new world.
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1442
u ovom novom svetu.
12:47
The lion's share of the space
goes to the winner's circle.
goes to the winner's circle.
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3507
Najveći deo prostora
pripada pobedničkom krugu.
pripada pobedničkom krugu.
12:51
There you find men and women
completely nude like athletes.
completely nude like athletes.
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Tu ćete naći muškarce i žene
koji su potpuno goli, kao sportisti.
koji su potpuno goli, kao sportisti.
12:56
They are the ones
who have overcome adversity,
who have overcome adversity,
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2312
To su oni koji su prebrodili nedaće,
12:58
and Michelangelo's vision
of people who combat adversity,
of people who combat adversity,
246
766672
3714
a Mikelanđelovo viđenje
ljudi koji su pobedili nedaće,
ljudi koji su pobedili nedaće,
13:02
overcome obstacles --
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prevazišli prepreke,
13:03
they're just like athletes.
248
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1894
je da su poput sportista.
13:05
So you have men and women
flexing and posing
flexing and posing
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3429
Dakle, imate muškarce i žene
koji poziraju u savijenom položaju
koji poziraju u savijenom položaju
13:09
in this extraordinary spotlight.
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2084
na ovoj izuzetnoj pozornici.
13:11
Presiding over this assembly is Jesus,
251
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2545
Ovim skupom predsedava Isus,
13:14
first a suffering man on the cross,
252
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2018
najpre čovek koji strada na krstu,
13:16
now a glorious ruler in Heaven.
253
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2404
sada veličanstveni vladar Raja.
13:18
And as Michelangelo
proved in his painting,
proved in his painting,
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3018
I, kao što je Mikelanđelo
pokazao na svojoj slici,
pokazao na svojoj slici,
13:21
hardship, setbacks and obstacles,
255
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2578
teškoće, zastoji i prepreke
13:24
they don't limit excellence,
they forge it.
they forge it.
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3234
ne ograničavaju izvrsnost,
već je stvaraju.
već je stvaraju.
13:28
Now, this does lead us to one odd thing.
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Ovo nas dovodi do jedne čudne stvari.
13:30
This is the Pope's private chapel,
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Ovo je papina privatna kapela
13:32
and the best way you can describe that
is indeed a stew of nudes.
is indeed a stew of nudes.
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i najbolji način na koji je možete pisati
je kao gomilu nagih tela.
je kao gomilu nagih tela.
13:35
But Michelangelo was trying to use
only the best artistic language,
only the best artistic language,
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No, Mikelanđelo je pokušao da koristi
isključivo najbolji umetnički jezik,
isključivo najbolji umetnički jezik,
13:39
the most universal artistic language
he could think of:
he could think of:
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najuniverzalniji umetnički jezik
kog se mogao dosetiti -
kog se mogao dosetiti -
13:42
that of the human body.
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jezik ljudskog tela.
13:44
And so instead of the way of showing
virtue such as fortitude or self-mastery,
virtue such as fortitude or self-mastery,
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Stoga je, umesto da pokaže vrlinu
poput hrabrosti i samosavlađivanja,
poput hrabrosti i samosavlađivanja,
13:49
he borrowed from Julius II's
wonderful collection of sculptures
wonderful collection of sculptures
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pozajmio je od Julija II
i njegove sjajne zbirke skulptura
i njegove sjajne zbirke skulptura
13:54
in order to show inner strength
as external power.
as external power.
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kako bi pokazao unutrašnju jačinu
kao spoljašnju snagu.
kao spoljašnju snagu.
13:59
Now, one contemporary did write
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Jedan savremenik je zapisao
14:02
that the chapel was too beautiful
to not cause controversy.
to not cause controversy.
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da je kapela toliko lepa
da je morala izazvati polemiku.
da je morala izazvati polemiku.
14:06
And so it did.
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Tako je i bilo.
14:08
Michelangelo soon found
that thanks to the printing press,
that thanks to the printing press,
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Mikelanđelo je ubrzo otkrio da su se,
zahvaljujući štamparskoj mašini,
zahvaljujući štamparskoj mašini,
14:11
complaints about the nudity
spread all over the place,
spread all over the place,
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pritužbe zbog golotinje proširile svuda
14:14
and soon his masterpiece of human drama
was labeled pornography,
was labeled pornography,
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i uskoro je njegovo remek-delo
ljudske drame označeno kao pornografija,
ljudske drame označeno kao pornografija,
a u tom trenutku
je dodao još dva portreta -
je dodao još dva portreta -
14:19
at which point he added
two more portraits,
two more portraits,
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portret čoveka koji ga je kritikovao,
papinog družbenika
papinog družbenika
14:21
one of the man who criticized him,
a papal courtier,
a papal courtier,
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14:23
and the other one of himself
as a dried up husk, no athlete,
as a dried up husk, no athlete,
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i svoj portret kao odrane kože,
ne sportiste,
ne sportiste,
14:27
in the hands of a long-suffering martyr.
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u rukama velikomučenika.
14:30
The year he died he saw
several of these figures covered over,
several of these figures covered over,
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Godine kada je umro, video je
kako nekoliko ovih figura pokrivaju,
kako nekoliko ovih figura pokrivaju,
14:34
a triumph for trivial distractions
over his great exhortation to glory.
over his great exhortation to glory.
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što je bio trijumf trivijalnih razbibriga
nad njegovim sjajnim pozivanjem
na veličanstvenost.
na veličanstvenost.
14:40
And so now we stand
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Sada se nalazimo
14:41
in the here and now.
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1730
ovde i sada.
14:43
We are caught in that space
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Zatekli smo se u tom prostoru
14:46
between beginnings and endings,
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među počecima i krajevima,
14:48
in the great, huge totality
of the human experience.
of the human experience.
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u velikoj, ogromnoj sveukupnosti
ljudskog iskustva.
ljudskog iskustva.
14:52
The Sistine Chapel forces us
to look around as if it were a mirror.
to look around as if it were a mirror.
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Sikstinska kapela nam nameće
da razgledamo kao da je ogledalo.
da razgledamo kao da je ogledalo.
14:56
Who am I in this picture?
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Ko sam ja na ovoj slici?
Jesam li među onima u gomili?
14:57
Am I one of the crowd?
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14:59
Am I the drunk guy?
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Da li sam pijanac?
15:00
Am I the athlete?
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Da li sam sportista?
15:02
And as we leave this haven
of uplifting beauty,
of uplifting beauty,
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I dok napuštamo
ovo utočište uzvišene lepote,
ovo utočište uzvišene lepote,
15:04
we are inspired to ask ourselves
life's biggest questions:
life's biggest questions:
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inspirisani smo da postavimo sebi
najveća životna pitanja -
najveća životna pitanja -
15:08
Who am I, and what role do I play
in this great theater of life?
in this great theater of life?
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ko sam ja i koju ulogu igram
u ovom velikom pozorištu života?
u ovom velikom pozorištu života?
15:13
Thank you.
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Hvala.
15:14
(Applause)
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(Aplauz)
15:18
Bruno Giussani: Elizabeth Lev, thank you.
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Bruno Đuzani: Elizabet Lev, hvala ti.
15:21
Elizabeth, you mentioned
this whole issue of pornography,
this whole issue of pornography,
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Elizabet, pomenula si
taj problem pornografije,
taj problem pornografije,
15:25
too many nudes and too many
daily life scenes and improper things
daily life scenes and improper things
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4813
previše nagih tela i previše scena
svakodnevnog života i neprimerenosti
svakodnevnog života i neprimerenosti
15:30
in the eyes of the time.
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1865
u očima tog vremena.
Međutim, priča obuhvata više od toga.
15:32
But actually the story is bigger.
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15:34
It's not just touching up
and covering up some of the figures.
and covering up some of the figures.
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Ne radi se samo o doterivanju
i pokrivanju pojedinih figura.
i pokrivanju pojedinih figura.
15:37
This work of art was almost
destroyed because of that.
destroyed because of that.
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Ovo umetničko delo
je zamalo uništeno zbog toga.
je zamalo uništeno zbog toga.
15:40
Elizabeth Lev: The effect
of the Last Judgment was enormous.
of the Last Judgment was enormous.
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Elizabet Lev: Uticaj Strašnog suda
bio je ogromnih razmera.
bio je ogromnih razmera.
15:43
The printing press made sure
that everybody saw it.
that everybody saw it.
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Štamparska mašina
se postarala da ga svi vide.
se postarala da ga svi vide.
15:46
And so, this wasn't something
that happened within a couple of weeks.
that happened within a couple of weeks.
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To nije nešto što se dogodilo
za par nedelja.
za par nedelja.
To je nešto što se događalo
tokom perioda od 20 godina
tokom perioda od 20 godina
15:49
It was something that happened
over the space of 20 years
over the space of 20 years
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15:54
of editorials and complaints,
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uredničkih članaka i pritužbi,
15:56
saying to the Church,
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obraćanja Crkvi sa:
15:57
"You can't possibly tell us
how to live our lives.
how to live our lives.
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2575
„Ne možete da nam kažete
kako da živimo naše živote.
kako da živimo naše živote.
15:59
Did you notice you have
pornography in the Pope's chapel?"
pornography in the Pope's chapel?"
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Jeste li primetili da imate
pornografiju u papinoj kapeli?“
pornografiju u papinoj kapeli?“
16:03
And so after complaints and insistence
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2460
I tako je, nakon žalbi i insistiranja
16:05
of trying to get this work destroyed,
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kojima se nastojalo uništiti njegovo delo,
16:08
it was finally the year
that Michelangelo died
that Michelangelo died
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najzad je u godini Mikelanđelove smrti
16:10
that the Church finally
found a compromise,
found a compromise,
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Crkva konačno pronašla
kompromisno rešenje,
kompromisno rešenje,
16:12
a way to save the painting,
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način da spasi sliku,
16:14
and that was in putting up
these extra 30 covers,
these extra 30 covers,
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3317
a to je bilo dodavanje
tih 30 odevnih elemenata,
tih 30 odevnih elemenata,
a to je slučajno i početak
pokrivanja listovima smokve.
pokrivanja listovima smokve.
16:17
and that happens to be
the origin of fig-leafing.
the origin of fig-leafing.
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2747
16:20
That's where it all came about,
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1588
Tako se sve to odigralo,
16:22
and it came about from a church
that was trying to save a work of art,
that was trying to save a work of art,
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a poteklo je iz crkve koja je pokušavala
da spasi umetničko delo,
da spasi umetničko delo,
16:26
not indeed deface or destroyed it.
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2171
a ne da ga unakazi ili uništi.
16:28
BG: This, what you just gave us,
is not the classic tour
is not the classic tour
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BĐ: Ovo što si nam ti upravo pružila
nije klasični obilazak
nije klasični obilazak
16:31
that people get today
when they go to the Sistine Chapel.
when they go to the Sistine Chapel.
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koji ljudi danas dobiju
kada odu u Sikstinsku kapelu.
kada odu u Sikstinsku kapelu.
16:34
(Laughter)
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(Smeh)
16:36
EL: I don't know, is that an ad?
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EL: Ne znam, da li je to reklama?
16:38
(Laughter)
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(Smeh)
16:40
BG: No, no, no, not necessarily,
it is a statement.
it is a statement.
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BĐ: Ne, ne, ne nužno, to je izjava.
16:43
The experience of art today
is encountering problems.
is encountering problems.
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Današnji umetnički doživljaj
nailazi na probleme.
nailazi na probleme.
16:47
Too many people want to see this there,
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Previše ljudi želi da ovo vidi tamo,
16:50
and the result is five million people
going through that tiny door
going through that tiny door
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a rezultat je pet miliona ljudi
koji prolaze kroz ta mala vrata
koji prolaze kroz ta mala vrata
i doživljavaju to
na potpuno drugačiji način
na potpuno drugačiji način
16:53
and experiencing it
in a completely different way
in a completely different way
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nego što smo mi upravo.
16:55
than we just did.
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EL: Da. Slažem se.
16:56
EL: Right. I agree. I think it's really
nice to be able to pause and look.
nice to be able to pause and look.
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Mislim da je stvarno fino
moći zastati i gledati.
moći zastati i gledati.
No, isto tako shvatite,
čak i kada ste tih dana,
čak i kada ste tih dana,
17:00
But also realize,
even when you're in those days,
even when you're in those days,
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sa 28 000 ljudi dnevno,
17:02
with 28,000 people a day,
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2012
17:04
even those days when you're in there
with all those other people,
with all those other people,
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čak i tih dana kada ste tamo
sa svim tim ljudima,
sa svim tim ljudima,
pogledajte oko sebe i pomislite
koliko je neverovatno
koliko je neverovatno
17:07
look around you and think
how amazing it is
how amazing it is
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17:10
that some painted plaster
from 500 years ago
from 500 years ago
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da oslikani malter od pre 500 godina
još može da privuče sve te ljude
koji stoje jedni uz druge sa tobom,
koji stoje jedni uz druge sa tobom,
17:13
can still draw all those people
standing side by side with you,
standing side by side with you,
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17:17
looking upwards with their jaws dropped.
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1975
dok gledaju nagore otvorenih usta.
17:19
It's a great statement about how beauty
truly can speak to us all
truly can speak to us all
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4925
To je sjajan iskaz o tome kako se lepota
zaista može obratiti svakome od nas
zaista može obratiti svakome od nas
17:24
through time and through geographic space.
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kroz različita vremena
i geografsku udaljenost.
i geografsku udaljenost.
17:26
BG: Liz, grazie.
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BĐ: Liz, hvala.
17:27
EL: Grazie a te.
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EL: Hvala tebi.
17:29
BG: Thank you.
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BĐ: Hvala.
17:30
(Applause)
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(Aplauz)
ABOUT THE SPEAKER
Elizabeth Lev - Art historianElizabeth Lev's experience studying and teaching art has led her to believe that when we encounter something beautiful, we are made vulnerable and opened to the truth.
Why you should listen
Art historian Elizabeth Lev became captivated by Rome while completing her graduate studies. She writes and lectures on Renaissance art in the Eternal City, but is most at home in the Vatican Museums, founded in the 16th century to house the trove of art amassed by centuries of Popes. She has spent 15 years studying the vast collection, which contain not only Christian-themed works but art from virtually every other culture in the world. She consults with the Vatican Museums and wrote the film Vatican Treasures. She also wrote A Body for Glory, examining how the papal collection of Greco-Roman nudes grew into the Sistine Chapel.
Elizabeth Lev | Speaker | TED.com