What is a butt tuba and why is it in medieval art? - Michelle Brown

931,946 views ใƒป 2019-04-16

TED-Ed


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

ืชืจื’ื•ื: Ido Dekkers ืขืจื™ื›ื”: Allon Sasson
00:06
A rabbit attempts to play a church organ,
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ืืจื ื‘ ืžื ืกื” ืœื ื’ืŸ ืขืœ ืื•ืจื’ืŸ ื›ื ืกื™ื”,
00:08
while a knight fights a giant snail
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ื‘ืขื•ื“ ืื‘ื™ืจ ื ืœื—ื ื‘ื—ืœื–ื•ืŸ ืขื ืง
00:11
and a naked man blows a trumpet with his rear end.
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ื•ืื“ื ืขืจื•ื ืžื ื’ืŸ ื‘ื—ืฆื•ืฆืจื” ืขื ืื—ื•ืจื™ื•.
00:15
Painted with squirrel-hair brushes on vellum or parchment
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ื”ืฆื™ื•ืจื™ื ืฆื•ื™ื™ืจื• ืขื ืžื‘ืจืฉื•ืช ืฉื™ืขืจ ืกื ืื™ ืขืœ ืงืœืฃ
00:18
by monks, nuns, and urban craftspeople,
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ืขืœ ื™ื“ื™ ื ื–ื™ืจื™ื, ื ื–ื™ืจื•ืช ื•ื‘ืขืœื™ ืžืœืื›ื” ืขื™ืจื•ื ื™ื™ื,
00:22
these bizarre images populate the margins of the most prized books
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ื”ื“ืžื•ื™ื•ืช ื”ืžื•ื–ืจื•ืช ื”ืืœื• ืžืื›ืœืกื•ืช ืืช ื”ืฉื•ืœื™ื™ื ืฉืœ ื”ืกืคืจื™ื ื”ื›ื™ ื ื—ืฉืงื™ื
00:26
from the Middle Ages.
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ืžื™ืžื™ ื”ื‘ื™ื ื™ื™ื.
00:28
Their illustrations often tell a second story as rich as the text itself.
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ื”ืื™ื•ืจื™ื ืฉืœื”ื ื”ืจื‘ื” ืคืขืžื™ื ืžืกืคืจื™ื ืกื™ืคื•ืจ ื ื•ืกืฃ ืขืฉื™ืจ ื›ืžื• ื”ื˜ืงืกื˜ ืขืฆืžื•.
00:34
Some images appear in many different illuminated manuscripts,
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ื›ืžื” ืชืžื•ื ื•ืช ืžื•ืคื™ืขื•ืช ื‘ื”ืจื‘ื” ื›ืชื‘ื™ ื™ื“ ืžืื•ื™ื™ืจื™ื,
00:38
and often reinforce the religious content of the books they decorated.
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ื•ื”ืจื‘ื” ืคืขืžื™ื ืžื—ื–ืงื•ืช ืืช ื”ืชื•ื›ืŸ ื”ื“ืชื™ ืฉืœ ื”ืกืคืจื™ื ืื•ืชื ืขื™ื˜ืจื•.
00:42
For example, a porcupine picking up fruit on its spines
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ืœื“ื•ื’ืžื”, ืงื™ืคื•ื“ ืฉืžืจื™ื ืคื™ืจื•ืช ืขืœ ืงื•ืฆื™ื•
00:46
could represent the devil stealing the fruits of faith--
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ื™ื›ื•ืœ ืœื™ื™ืฆื’ ืืช ื”ืฉื˜ืŸ ืฉื’ื•ื ื‘ ืคื™ืจื•ืช ืืžื•ื ื” --
00:50
or Christ taking up the sins of mankind.
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ืื• ื™ืฉื• ืฉืœื•ืงื— ืืช ื—ื˜ืื™ ื”ืื ื•ืฉื•ืช.
00:53
Medieval lore stated that a hunter could only capture a unicorn
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ืชื”ื™ืœืช ื™ืžื™ ื”ื‘ื™ื ื™ื™ื ืืžืจื” ืฉืฆื™ื™ื“ ื™ื›ื•ืœ ืœืœื›ื•ื“ ื—ื“ ืงืจืŸ
00:57
when it lay its horn in the lap of a virgin,
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ืจืง ื›ืฉื”ื•ื ืžื ื™ื— ืืช ืงืจื ื• ื‘ื—ื™ืง ื‘ืชื•ืœื”,
01:00
so a unicorn could symbolize either sexual temptation
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ืื– ื—ื“ ืงืจืŸ ื™ื›ื•ืœ ืœืกืžืœ ืื• ืคื™ืชื•ื™ ืžื™ื ื™
01:04
or Christ being captured by his enemies.
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ืื• ืืช ื™ืฉื• ื ืœื›ื“ ืขืœ ื™ื“ื™ ืื•ื™ื‘ื™ื•.
01:07
Rabbits, meanwhile, could represent humanโ€™s lustful naturesโ€”
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ืืจื ื‘ื™ืืฃ ื‘ื™ื ืชื™ื™ื, ื™ื›ื•ืœื™ื ืœื™ื™ืฆื’ ืืช ื”ื˜ื‘ืข ื”ืชืฉื•ืงืชื™ ืฉืœ ื”ืื“ื --
01:11
and could redeem themselves through attempts to make sacred music
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ื•ื™ื›ื•ืœื™ื ืœื’ืื•ืœ ืืช ืขืฆืžื ื“ืจืš ื ืกื™ื•ื ื•ืช ืœื ื’ืŸ ืžื•ื–ื™ืงื” ืงื“ื•ืฉื”
01:15
despite their failings.
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ืœืžืจื•ืช ื”ื›ืฉืœื™ื ืฉืœื”ื.
01:17
All of these references would have been familiar to medieval Europeans
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ื›ืœ ื”ื™ื—ื•ืกื™ื ื”ืืœื• ื”ื™ื• ืžื•ื›ืจื™ื ืœืืจื•ืคืื™ื ื‘ื™ืžื™ ื”ื‘ื™ื ื™ื™ื
01:21
from other art forms and oral tradition,
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ืžืฆื•ืจื•ืช ืื•ืžื ื•ืช ืื—ืจื•ืช ื•ืžืกื•ืจื•ืช ืฉื‘ืขืœ ืคื”,
01:24
though some have grown more mysterious over the centuries.
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ืœืžืจื•ืช ืฉื›ืžื” ื”ืคื›ื• ืœื™ื•ืชืจ ืžืกืชื•ืจื™ื•ืช ื‘ืžืฉืš ื”ืžืื•ืช.
01:27
Today,
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ื”ื™ื•ื,
01:28
no one can say for sure what the common motif of a knight fighting a snail meansโ€”
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ืืฃ ืื—ื“ ืœื ื™ื›ื•ืœ ืœื”ื’ื™ื“ ื‘ื‘ื˜ื—ื•ืŸ ืžื” ื”ืžื•ื˜ื™ื‘ ื”ื ืคื•ืฅ ืฉืœ ืื‘ื™ืจ ื ืœื—ื ื‘ื—ื™ืœื–ื•ืŸ --
01:34
or why the knight so often appears to be losing.
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ืœืžื” ืฉื ืจืื” ืฉื”ืื‘ื™ืจื™ื ืžืคืกื™ื“ื™ื ื›ืœ ื›ืš ื”ืจื‘ื”.
01:38
The snail might be a symbol of the inevitability of death,
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ื”ื—ืœื–ื•ืŸ ืื•ืœื™ ืกืžืœ ืฉืœ ื”ื’ื•ืจืœ ื”ื‘ืœืชื™ ื ืžื ืข ืฉืœ ื”ืžื•ื•ืช,
01:41
which defeats even the strongest knights.
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ืฉืžื‘ื™ืก ืืคื™ืœื• ืืช ื”ืื‘ื™ืจื™ื ื”ื—ื–ืงื™ื ื‘ื™ื•ืชืจ.
01:44
Or it could represent humility, and a knightโ€™s need to vanquish his own pride.
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ืื• ื”ื•ื ื™ื›ื•ืœ ืœืกืžืœ ืขื ื•ื•ื”, ื•ื”ืฆื•ืจืš ืฉืœ ืื‘ื™ืจ ืœื”ื‘ื™ืก ืืช ื”ื’ืื•ื•ื” ืฉืœ ืขืฆืžื•.
01:50
Many illuminated manuscripts were copies of religious or classical texts,
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ื”ืจื‘ื” ื›ืชื‘ื™ื ืžื•ืืจื™ื ื”ื™ื• ืขื•ืชืงื™ื ืฉืœ ื˜ืงืกื˜ื™ื ื“ืชื™ื™ื ืื• ืงืœืืกื™ื™ื,
01:54
and the bookmakers incorporated their own ideas and opinions in illustrations.
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ื•ื™ืฆืจื ื™ ื”ืกืคืจื™ื ืฉื™ืœื‘ื• ืืช ื”ืจืขื™ื•ื ื•ืช ื•ื”ื“ืขื•ืช ืฉืœื”ื ื‘ืื™ื•ืจื™ื.
02:00
The butt tuba, for example,
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ื˜ื•ื‘ืช ื”ืชื—ืช ืœื“ื•ื’ืžื”,
02:02
was likely shorthand to express disapproval with--
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ื”ื™ืชื” ื›ื ืจืื” ืงื™ืฆื•ืจ ืœื”ื‘ืขืช ื—ื•ืกืจ ืฉื‘ื™ืขื•ืช ืจืฆื•ืŸ ืขื --
02:05
or add an ironic spin to-- the action in the text.
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ืื• ื”ื•ืกืคืช ืกืคื™ืŸ ืื™ืจื•ื ื™ ืœ -- ื”ืคืขื•ืœื•ืช ื‘ื˜ืงืกื˜.
02:10
Illuminations could also be used to make subversive political commentary.
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ื”ืืจื•ืช ื”ื™ื• ื™ื›ื•ืœื•ืช ืœื”ื™ื•ืช ื‘ืฉื™ืžื•ืฉ ื’ื ืœื”ืขืจื•ืช ืคื•ืœื™ื˜ื™ื•ืช ื—ืชืจื ื™ื•ืช.
02:14
The text of the "Smithfield Decretals"
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ื”ื˜ืงืกื˜ ืฉืœ "ืกืžื™ืช'ืคื™ืœื“ ื“ืงืจื˜ืœืก"
02:16
details the Churchโ€™s laws and punishments for lawbreakers.
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ืžืคืจื˜ ืืช ื—ื•ืงื™ ื”ื›ื ืกื™ื™ื” ื•ืขื ื™ืฉื” ืœืžืคืจื™ ื—ื•ืง.
02:20
But the margins show a fox being hanged by geese,
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ืื‘ืœ ื”ืฉื•ืœื™ื™ื ืžืจืื™ื ืฉื•ืขืœ ื ืชืœื” ืขืœ ื™ื“ื™ ืื•ื•ื–ื™ื,
02:23
a possible allusion to the common people turning on their powerful oppressors.
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ื”ืฆื’ื” ืืคืฉืจื™ืช ืœืื ืฉื™ื ื”ืจื’ื™ืœื™ื ืฉืคื•ื ื™ื ื ื’ื“ ื”ืขืจื™ืฆื™ื ื”ื—ื–ืงื™ื ืฉืœื”ื.
02:28
In the "Chronica Majora,"
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ื‘"ื›ืจื•ื ื™ืงื” ืžื’'ื•ืจื”,"
02:30
Matthew Paris summarized a scandal of his day,
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ืžืืช'ื™ื• ืคืืจื™ืก ืžืกื›ื ืกืงื ื“ืœ ืฉืœ ื–ืžื ื•,
02:34
in which the Welsh prince Griffin
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ื‘ื• ื”ื ืกื™ืš ื”ื•ื•ืœืฉื™ ื’ืจื™ืคื™ืŸ
02:36
plummeted to his death from the tower of London.
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ืฆื•ื ื— ืืœ ืžื•ืชื• ืžืžื’ื“ืœ ืœื•ื ื“ื•ืŸ.
02:39
Some believed the prince fell, Paris wrote,
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ื›ืžื” ืžืืžื™ื ื™ื ืฉื”ื ืกื™ืš ื ืคืœ, ืคืืจื™ืก ื›ืชื‘,
02:42
while others thought he was pushed.
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ื‘ืขื•ื“ ืื—ืจื™ื ื—ื•ืฉื‘ื™ื ืฉื”ื•ื ื ื“ื—ืฃ.
02:45
He added his own take in the margins,
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ื”ื•ื ื”ื•ืกื™ืฃ ืืช ื“ืขืชื• ืฉืœื• ื‘ืฉื•ืœื™ื™ื,
02:47
which show the prince falling to his death
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ืฉืžืจืื” ืืช ื”ื ืกื™ืš ื ื•ืคืœ ืœืžื•ืชื•
02:49
while trying to escape on a rope made of bed-sheets.
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ื‘ืขื•ื“ื• ืžื ืกื” ืœื‘ืจื•ื— ืขืœ ื—ื‘ืœ ืขืฉื•ื™ ืกื“ื™ื ื™ื.
02:53
Some margins told stories of a more personal nature.
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ื›ืžื” ืฉื•ืœื™ื™ื ืžืกืคืจื™ื ืกื™ืคื•ืจื™ื ืขื ื˜ื‘ืข ืื™ืฉื™ ื™ื•ืชืจ.
02:57
"The Luttrell Psalter,"
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"ื”ืœื•ื˜ืจืœ ืคืกืœื˜ืจ,"
02:58
a book of psalms and prayers commissioned by Sir Geoffrey Luttrell,
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ืกืคืจ ืžื–ืžื•ืจื™ื ื•ืชืคื™ืœื•ืช ืฉื”ื•ื–ืžืŸ ืขืœ ื™ื“ื™ ืกืจ ื’'ืคืจื™ ืœื•ื˜ืจืœ,
03:02
shows a young woman having her hair done,
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ืžืจืื” ืื™ืฉื” ืฆืขื™ืจื” ืžืกื“ืจืช ืืช ืฉื™ืขืจื”,
03:04
while a young man catches a bird in a net.
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ื‘ืขื•ื“ ืื™ืฉ ืฆืขื™ืจ ืœื•ื›ื“ ืฆื™ืคื•ืจ ื‘ืจืฉืช.
03:07
The shaved patch on his head is growing out,
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ื”ื—ืœืง ื”ืžื’ื•ืœื— ืขืœ ืจืืฉื• ื’ื“ืœ,
03:10
indicating that he is a clergyman neglecting his duties.
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ืžืจืื” ืฉื”ื•ื ืื™ืฉ ื›ืžื•ืจื” ืฉืžื–ื ื™ื— ืืช ื—ื•ื‘ื•ืชื™ื•.
03:15
This alludes to a family scandal
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ื–ื” ืžืจืžื– ืขืœ ืกืงื ื“ืœ ืžืฉืคื—ืชื™
03:17
where a young cleric ran away with Sir Geoffreyโ€™s daughter Elizabeth.
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ื‘ื• ื›ื•ืžืจ ืฆืขื™ืจ ื‘ืจื— ืขื ื‘ื™ืชื• ืฉืœ ืกืจ ื’'ืคืจื™ ืืœื™ื–ื‘ืช'.
03:21
The familyโ€™s personal spiritual advisor likely painted it into the book
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ื”ื™ื•ืขืฅ ื”ืจื•ื—ื ื™ ื”ืคืจื˜ื™ ืฉืœ ื”ืžืฉืคื—ื” ื›ื ืจืื” ืฆื™ื™ืจ ื–ืืช ื‘ืกืคืจ
03:25
to remind his clients of their failings
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ื›ื“ื™ ืœื”ื–ื›ื™ืจ ืœืœืงื•ื—ื•ืช ืฉืœื• ืืช ื”ื—ืกืจื•ื ื•ืช ืฉืœื”ื
03:28
and encourage their spiritual development.
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ื•ืœืขื•ื“ื“ ืืช ื”ื”ืชืคืชื—ื•ืช ื”ืจื•ื—ื ื™ืช ืฉืœื”ื.
03:31
Some artists even painted themselves into the manuscripts.
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ื›ืžื” ืืžื ื™ื ืืคื™ืœื• ืฆื™ื™ืจื• ืืช ืขืฆืžื ื‘ื›ืชื‘ื™ื.
03:35
The opening image of Christine de Pisanโ€™s collected works
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ื”ืชืžื•ื ื•ืช ื”ืคื•ืชื—ื•ืช ืฉืœ ืื•ืกืฃ ื”ืขื‘ื•ื“ื•ืช ืฉืœ ื›ืจื™ืกื˜ื™ืŸ ื“ื” ืคื™ื–ืืŸ
03:39
shows de Pisan presenting the book to the Queen of France.
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ืžืจืื” ืืช ื“ื” ืคื™ื–ืืŸ ืžืฆื™ื’ื” ืืช ื”ืกืคืจ ืœืžืœื›ืช ืฆืจืคืช.
03:43
The queen was so impressed by de Pisan's previous work
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ื”ืžืœื›ื” ื›ืœ ื›ืš ื”ืชืจืฉืžื” ืžื”ืขื‘ื•ื“ื•ืช ื”ืงื•ื“ืžื•ืช ืฉืœ ื“ื” ืคื™ื–ืืŸ
03:46
that she commissioned her own copy.
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ืฉื”ื™ื ื”ื–ืžื™ื ื” ืขื•ืชืง ืžืฉืœื”.
03:49
Such royal patronage
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ืคื˜ืจื•ื ื™ื•ืช ืžืœื›ื•ืชื™ืช ื›ื–ื•
03:50
enabled her to establish her own publishing house in Paris.
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ืžืืคืฉืจืช ืœื” ืœื”ืงื™ื ื‘ื™ืช ื”ื•ืฆืื” ืœืื•ืจ ืžืฉืœื” ื‘ืคืจื™ื–.
03:55
The tradition of illuminated manuscripts lasted for over a thousand years.
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ื”ืžืกื•ืจืช ืฉืœ ื›ืชื‘ื™ ื™ื“ ืžืื•ื™ื™ืจื™ื ื ืžืฉื›ื” ื‘ืžืฉืš ื™ื•ืชืจ ืžืืœืฃ ืฉื ื”.
04:00
The books were created by individuals or teams for uses as wide-ranging
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ื”ืกืคืจื™ื ื ื•ืฆืจื• ืขืœ ื™ื“ื™ ืื ืฉื™ื ืคืจื˜ื™ื™ื ืื• ืฆื•ื•ืชื™ื ืœืฉื™ืžื•ืฉื™ื ืžื’ื•ื•ื ื™ื
04:05
as private prayer aids, service books in churches, textbooks,
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ื›ืžื• ืขื–ืจื™ ืชืคื™ืœื” ืื™ืฉื™ื™ื, ืกืคืจื™ ืฉืจื•ืช ื‘ื›ื ืกื™ื•ืช, ืกืคืจื™ ืžื™ื“ืข,
04:10
and protective talismans to take into battle.
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ื•ืงืžืขื•ืช ืžื’ื™ื ื™ื ืœืœืงื™ื—ื” ืœืงืจื‘.
04:13
Across all this variation,
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ืœืจื•ื—ื‘ ื›ืœ ื”ืžื’ื•ื•ืŸ ื”ื–ื”,
04:15
those tricky little drawings in the margins
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ื”ืื™ื•ืจื™ื ื”ืงื˜ื ื™ื ื”ื˜ืจื™ืงื™ื™ื ื”ืืœื” ื‘ืฉื•ืœื™ื™ื
04:18
are a unique window into the minds of medieval artists.
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ื”ื ื—ืœื•ืŸ ื™ื—ื•ื“ื™ ืœืจืืฉื™ื”ื ืฉืœ ืืžื ื™ ื™ืžื™ ื”ื‘ื™ื ื™ื™ื.
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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