Maurizio Seracini: The secret lives of paintings

35,263 views ・ 2012-10-12

TED


μ•„λž˜ μ˜λ¬Έμžλ§‰μ„ λ”λΈ”ν΄λ¦­ν•˜μ‹œλ©΄ μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€.

00:00
Translator: Joseph Geni Reviewer: Thu-Huong Ha
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λ²ˆμ—­: ahra cho κ²€ν† : Jerome Kim
00:16
In 1975, I met in Florence a professor, Carlo Pedretti,
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1975년에 μ €λŠ” κ΅μˆ˜λ‹˜ ν•œλΆ„μ„ λ§Œλ‚¬μŠ΅λ‹ˆλ‹€. 이 뢄은 제 μ˜ˆμ „ κ΅μˆ˜λ‹˜μ΄μ…¨μœΌλ©°
00:20
my former professor of art history, and today
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μ „μ„Έκ³„μ μœΌλ‘œ 유λͺ…ν•œ λ ˆμ˜€λ‚˜λ₯΄λ„ λ‹€λΉˆμΉ˜ μ—°κ΅¬ν•™μžμΈ
00:23
a world-renowned scholar of Leonardo da Vinci.
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μΉ΄λ₯Όλ‘œ νŽ˜λ“œλ ˆν‹°μ΄λΌλŠ” λΆ„μ΄μ…¨μŠ΅λ‹ˆλ‹€.
00:27
Well, he asked me if I could find some technological way
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κ΅μˆ˜λ‹˜μ€ 제게 λ ˆμ˜€λ‚˜λ₯΄λ„ λ‹€λΉˆμΉ˜μ˜ μžŠν˜€μ§„ λͺ…μž‘μ— λŒ€ν•œ
00:31
to unfold a five-centuries-old mystery related to
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500λ…„μ˜ λ―ΈμŠ€ν…Œλ¦¬μ— λŒ€ν•΄ 기술적으둜
00:35
a lost masterpiece by Leonardo da Vinci,
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μ ‘κ·Όν•  방법을 찾을 수 μžˆμ„μ§€ λ¬ΌμœΌμ…¨μŠ΅λ‹ˆλ‹€.
00:38
the "Battle of Anghiari," which is supposed to be located
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κ·Έ μž‘ν’ˆμ€ '앙기아리 μ „νˆ¬' λΌλŠ” 그림으둜 ν”Œλ‘œλ ŒμŠ€μ— μžˆλŠ”
00:41
in the Hall of the 500 in Palazzo Vecchio, in Florence.
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λ² ν‚€μ˜€ κΆμ „μ˜ λŒ€νšŒμ˜μ‹€ μ•ˆμ— μžˆλŠ” κ²ƒμœΌλ‘œ μΆ”μ •λ˜μ—ˆμ£ .
00:43
Well, in the mid-'70s, there were not great opportunities
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사싀, 70λ…„λŒ€ μ€‘λ°˜, 특히 μ΄νƒˆλ¦¬μ•„λž€ λ‚˜λΌμ—μ„œλŠ”
00:47
for a bioengineer like me, especially in Italy, and so
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저와 같은 생λͺ…κ³΅ν•™μžλ“€μ—κ²Œ 별닀λ₯Έ κΈ°νšŒκ°€ μ—†μ—ˆμ£ .
00:50
I decided, with some researchers from the United States
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κ·Έλž˜μ„œ λ―Έκ΅­κ³Ό ν”Œλ‘œλžœμŠ€ λŒ€ν•™μ˜ 연ꡬ원듀과 ν•¨κ»˜
00:54
and the University of Florence, to start probing the murals
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λŒ€νšŒμ˜μ‹€ μ–΄λ”˜κ°€μ— λ¬»ν˜€ μžˆμ„
00:59
decorated by Vasari on the long walls of the Hall of the 500
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λ ˆμ˜€λ‚˜λ₯΄λ„μ˜ μž‘ν’ˆμ„ μ°ΎκΈ° μœ„ν•΄
01:03
searching for the lost Leonardo.
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바사리가 κ·Έλ¦° λ²½ν™”λ₯Ό μ‘°μ‚¬ν•˜κΈ° μ‹œμž‘ν–ˆμŠ΅λ‹ˆλ‹€.
01:05
Unfortunately, at that time we did not know that
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μœ κ°μŠ€λŸ½κ²Œλ„ κ·Έ λ‹Ήμ‹œμ—λŠ” μš°λ¦¬κ°€
01:09
that was not exactly where we should be looking,
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μ „ν˜€ μ—‰λš±ν•œ 곳을 μ‘°μ‚¬ν•˜κ³  μžˆλ‹€λŠ” 사싀도 λͺ°λžμŠ΅λ‹ˆλ‹€.
01:13
because we had to go much deeper in, and so the research
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μ’€ 더 깊게 쑰사해야 ν–ˆμ§€λ§Œ μ–΄μ¨Œλ“  μ—°κ΅¬λŠ” 쀑단됐고
01:17
came to a halt, and it was only taken up in 2000
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κΈ°λ„€μŠ€κ°€λ¬Έμ˜ 적극적인 지지와 관심 덕뢄에
01:22
thanks to the interest and the enthusiasm of the Guinness family.
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2000년에 μ‘°μ‚¬λŠ” μž¬κ°œλ˜μ—ˆμŠ΅λ‹ˆλ‹€.
01:26
Well, this time, we focused on trying to reconstruct
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κ·Έλž˜μ„œ μš°λ¦¬λŠ” μ΄λ²ˆμ— ꢁ전 λŒ€νšŒμ˜μ‹€μ΄
01:29
the way the Hall of the 500 was before the remodeling,
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리λͺ¨λΈλ§ 되기 μ „μ˜ λͺ¨μŠ΅μ„ μž¬κ±΄ν•˜λŠ”λ° μ£Όλ ₯ν–ˆμŠ΅λ‹ˆλ‹€.
01:32
and the so-called Sala Grande, which was built in 1494,
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이 곳이 1494년에 μ„Έμ›Œμ§„ 'λŒ€ν˜• 응접싀'μ΄λž€ 곳인데
01:36
and to find out the original doors, windows,
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μ›λž˜μ˜ λ¬Έκ³Ό 창문듀을 μ°Ύμ•„λ‚΄κΈ° μœ„ν•΄μ„œ
01:39
and in order to do that, we first created a 3D model,
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μš°μ„  삼차원 λͺ¨λΈμ„ λ§Œλ“€μ—ˆμŠ΅λ‹ˆλ‹€.
01:43
and then, with thermography, we went on to discover
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열감지 검사λ₯Ό 톡해 숨겨쑌던 창문듀을 λ°œκ²¬ν–ˆμ£ .
01:47
hidden windows. These are the original windows of the hall
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이것듀이 'λŒ€ν˜• 응접싀'에 μ›λž˜ μ‘΄μž¬ν–ˆλ˜ μ°½λ¬Έλ“€μž…λ‹ˆλ‹€.
01:50
of the Sala Grande. We also found out about the height
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λ˜ν•œ 리λͺ¨λΈλ§ μ „μ˜ κΈ°μ‘΄ 천μž₯ 높이도 ν™•μΈν–ˆμ£ .
01:53
of the ceiling, and we managed to reconstruct, therefore,
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μš°λ¦¬λŠ” μ‘°μ§€μ˜€ 바사리가 λŒ€μ‘μ ‘μ‹€μ„
01:57
all the layout of this original hall
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λŒ€νšŒμ˜μ‹€λ‘œ μž¬κ±΄μΆ•ν•˜κΈ° μ „μ˜ μ›λž˜ λͺ¨μŠ΅μ„
01:59
the way it was before there came Vasari,
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λ³΅μ›ν•˜κΈ° μœ„ν•΄
02:03
and restructured the whole thing,
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λͺ¨λ“  섀계도면을 λ‹€μ‹œ μž‘μ„±ν–ˆμŠ΅λ‹ˆλ‹€.
02:05
including a staircase that was very important
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μ—¬κΈ° λ³΄μ΄λŠ” 계단 λ˜ν•œ '앙기아리 μ „νˆ¬' λ₯Ό
02:09
in order to precisely place "The Battle of Anghiari"
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νŠΉμ • μž₯μ†Œμ— λ°°μΉ˜ν•˜κΈ° μœ„ν•œ μˆ˜λ‹¨ 쀑 ν•˜λ‚˜λ‘œ νŒλ‹¨λ˜μ–΄
02:13
on a specific area of one of the two walls.
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μž¬μ„€κ³„ λ‚΄μš©μ— ν¬ν•¨μ‹œμΌ°μŠ΅λ‹ˆλ‹€.
02:17
Well, we also learned that Vasari, who was commissioned
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그러던 쀑, 1560λ…„μ—μ„œ 1574λ…„ 사이에 바사리가
02:20
to remodel the Hall of the 500 between 1560 and 1574
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λ©”λ””μΉ˜κ°€ μ½”μ‹œμ½” 1μ„Έ λŒ€κ³΅μž‘μœΌλ‘œλΆ€ν„°
02:25
by the Grand Duke Cosimo I of the Medici family,
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500λͺ…을 μœ„ν•œ λŒ€νšŒμ˜μ‹€ 리λͺ¨λΈλ§μ„ 의뒰 λ°›μ•˜μ„ λ•Œ
02:29
we have at least two instances when he saved masterpieces
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바사리가 κΈ°μ‘΄ λ²½ν™”λ₯Ό λ³΄μ‘΄ν•˜κΈ° μœ„ν•΄
02:33
specifically by placing a brick wall in front of it
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λ²½ν™” μ•žμ—λŠ” 벽을 μ„Έμš°κ³  κ·Έ λ’€μ—λŠ” μž‘μ€ 곡간을 λ‚¨κ²¨λ†“λŠ”
02:36
and leaving a small air gap.
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두가지 사둀λ₯Ό λ°œκ²¬ν–ˆμŠ΅λ‹ˆλ‹€.
02:38
One that we [see] here, Masaccio, the church of Santa Maria Novella in Florence,
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κ·Έ 쀑 ν•˜λ‚˜κ°€ μ§€κΈˆ λ³΄μ‹œλŠ” λ§ˆμ‚¬μΉ˜μ˜€κ°€ κ·Έλ¦° ν”Œλ‘œλ ŒμŠ€μ˜ μ‚°νƒ€λ§ˆλ¦¬μ•„ 노벨라 μ„±λ‹Ήμ˜
02:42
so we just said, well maybe, Visari has done something
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λ²½ν™”μž…λ‹ˆλ‹€. κ·Έλž˜μ„œ μ•„λ§ˆλ„ λ ˆμ˜€λ‚˜λ₯΄λ„ λ‹€λΉˆμΉ˜λ₯Ό
02:45
like that in the case of this great work of art by Leonardo,
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맀우 μ‘΄κ²½ν–ˆλ˜ 바사리가 그의 μœ„λŒ€ν•œ μž‘ν’ˆ λ˜ν•œ
02:48
since he was a great admirer of Leonardo da Vinci.
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μ΄λŸ°μ‹μœΌλ‘œ λ³΄μ‘΄ν–ˆμ„κ±°λΌ μ§μž‘ν–ˆμ£ .
02:51
And so we built some very sophisticated radio antennas
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κ·Έλž˜μ„œ μ•„μ£Ό μ •κ΅ν•œ 무선 μ•ˆν…Œλ‚˜λ₯Ό μ‚¬μš©ν•΄μ„œ
02:55
just for probing both walls and searching for an air gap.
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곡기측을 μ°Ύμ•„ μ–‘μͺ½λ²½μ„ 샅샅이 μ‘°μ‚¬ν–ˆμŠ΅λ‹ˆλ‹€.
03:01
And we did find many on the right panel of the east wall,
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그리고 동벽 였λ₯Έμͺ½ λΆ€λΆ„μ—μ„œ λ§Žμ€ 곡간을 μ°Ύμ•˜μŠ΅λ‹ˆλ‹€.
03:06
an air gap, and that's where
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이곳이 '앙기아리 μ „νˆ¬'κ°€ μžˆμ„κ²ƒμ΄λΌ μΆ”μ •λ˜λŠ”
03:08
we believe "The Battle of Anghiari,"
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λ°”λ‘œ κ·Έ κ³³μž…λ‹ˆλ‹€.
03:10
or at least the part that we know has been painted,
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적어도 'μ •μ˜λ₯Ό μœ„ν•œ μ „μŸ'μ΄λž€ μž‘ν’ˆμ˜
03:12
which is called "The Fight for the Standard," should be located.
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일뢀뢄이 μ‘΄μž¬ν•œλ‹€κ³  μ—¬κ²¨μ§€λŠ” 곳이죠.
03:15
Well, from there, unfortunately,
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그런데 μœ κ°μŠ€λŸ½κ²Œλ„,
03:19
in 2004, the project
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μ—¬λŸ¬κ°€μ§€ μ •μΉ˜μ μΈ μ΄μœ λ“€λ‘œ 인해
03:21
came to a halt. Many political reasons.
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2004년도에 연ꡬ가 λ‹€μ‹œ μ€‘λ‹¨λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
03:24
So I decided to go back to my alma mater,
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κ·Έ λ•Œ μ €λŠ” λͺ¨κ΅μΈ
03:27
and, at the University of California, San Diego,
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μƒŒλ””μ—κ³ μ˜ μΊ˜λ¦¬ν¬λ‹ˆμ•„ λŒ€ν•™κ΅λ‘œ λŒμ•„κ°”μ£ .
03:29
and I proposed to open up a research center
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그리고 λ¬Έν™”μœ μ‚°μ„ μœ„ν•œ κ³Όν•™κΈ°μˆ  연ꡬ센터
03:32
for engineering sciences for cultural heritage.
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섀립을 μ œμ•ˆν•˜κ²Œ λ©λ‹ˆλ‹€.
03:35
And in 2007, we created CISA3 as a research center
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그리고 2007년도에 CISA3μ΄λΌλŠ” μ—°κ΅¬μ†Œλ₯Ό μ„Έμ› μ‘Œκ³ 
03:39
for cultural heritage, specifically art, architecture
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λ¬Έν™”μœ μ‚°μ€‘μ—λ„ 특히 미술, 건좕, 고고학등을
03:42
and archaeology. So students started to flow in,
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μ—°κ΅¬ν•˜κΈ° μ‹œμž‘ν–ˆμœΌλ©° λ§Žμ€ 학생듀도 λͺ¨μ˜€μŠ΅λ‹ˆλ‹€.
03:45
and we started to build technologies, because that's
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그리고 ν˜„μž₯ 쑰사λ₯Ό 재 μΆ”μ§„ν•˜κΈ° μœ„ν•΄
03:47
basically what we also needed in order to move forward
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기술λ ₯을 μŒ“λŠ”λ° μ§‘μ€‘ν•˜μ˜€μŠ΅λ‹ˆλ‹€.
03:49
and go and do fieldwork.
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그리고 2011λ…„, 500인을 μœ„ν•œ λŒ€νšŒμ˜μ‹€μ—
03:52
We came back in the Hall of the 500 in 2011,
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λ‹€μ‹œ κ°€κ²Œ λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
03:57
and this time, with a great group of students,
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ν˜„ CISA3 μ—°κ΅¬μ†Œμž₯인 λ™λ£Œκ΅μˆ˜ νŒ”μ½” μΏ μ—μŠ€ν„°λ₯Ό λΉ„λ‘―ν•œ
04:00
and my colleague, Professor Falko Kuester,
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λ§Žμ€ 학생듀과 ν•¨κ»˜
04:03
who is now the director at CISA3, and we
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더 μ°Ύμ•„μ•Όν•  것이 λ‚¨μ•˜λŠ”μ§€ 보기 μœ„ν•΄
04:05
came back just since we knew already where to look for
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쑰사에 μ°©μˆ˜ν–ˆμŠ΅λ‹ˆλ‹€.
04:10
to find out if there was still something left.
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ν•˜μ§€λ§Œ 이 μžλ¦¬μ—μ„œ λ‹€ λ§μ”€λ“œλ¦¬κΈ° νž˜λ“ 
04:13
Well, we were confined though, limited, I should rather say,
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μ—¬λŸ¬ 이유둜 μ—°κ΅¬λŠ” μƒλ‹Ήν•œ μ œμ•½μ„ λ°›κ²Œ λ©λ‹ˆλ‹€.
04:17
for several reasons that it's not worth explaining,
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λ§Žμ€ 방법이 μžˆμ—ˆμŒμ—λ„
04:20
to endoscopy only, of the many other options we had,
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μš°λ¦¬κ°€ 선택할 수 μžˆμ—ˆλ˜ 것은
04:23
and with a 4mm camera attached to it,
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단지 4mm λ‚΄μ‹œκ²½ 카메라 λΏμ΄μ—ˆμŠ΅λ‹ˆλ‹€.
04:27
we were successful in documenting and taking
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μ–΄μ¨Œλ“  μš°λ¦¬λŠ” μ„±κ³΅μ μœΌλ‘œ
04:32
some fragments of what it turns out to be
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μ κ°ˆμƒ‰, 검정색, 그리고 베이지색
04:37
a reddish color, black color, and there is some
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μ•ˆλ£Œλ₯Ό μ°Ύμ•„λƒˆκ³ 
04:40
beige fragments that later on
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이후에 Xμ„  ν˜•κ΄‘κ²€μ‚¬, Xμ„  νšŒμ ˆκ²€μ‚¬κ°™μ€
04:44
we ran a much more sophisticated exams,
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μ’€ 더 μ •κ΅ν•œ μ‹€ν—˜μ„ ν–ˆμŠ΅λ‹ˆλ‹€.
04:47
XRF, X-ray diffraction, and the results are very positive
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κ²°κ³ΌλŠ” μ•„μ£Ό κΈμ •μ μ΄μ—ˆμŠ΅λ‹ˆλ‹€.
04:52
so far. It seems to indicate that indeed
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즉 μš°λ¦¬κ°€ 찾은 λͺ‡λͺ‡ μƒ‰μ†Œλ“€μ€
04:55
we have found some pigments, and since we know for sure
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λ ˆμ˜€λ‚˜λ₯΄λ„κ°€ μž‘ν’ˆμ„ μ™„μ„±ν•œ λ’€ 60년후에 바사리가
04:58
that no other artist has painted on that wall
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μ˜€κΈ°μ „κΉŒμ§€ μž‘ν’ˆμ— 아무도 손을 λŒ„ 적이 μ—†λ‹€λŠ” 것을
05:00
before Vasari came in about 60 years later, well,
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λͺ…λ°±νžˆ λ³΄μ—¬μ£Όμ—ˆμŠ΅λ‹ˆλ‹€.
05:04
those pigments are therefore firmly related to mural painting
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μš°λ¦¬κ°€ μ°Ύμ•„λ‚Έ μƒ‰μ†Œλ“€μ€ λ ˆμ˜€λ‚˜λ₯΄λ„κ°€ 남긴 벽화와
05:06
and most likely to Leonardo.
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κ°•λ ₯ν•œ 연관이 μžˆλŠ”κ²ƒμ΄μ—ˆμ£ .
05:09
Well, we are searching for the highest and highly praised
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μš°λ¦¬λŠ” μ—¬μ „νžˆ 인λ₯˜ 졜고의 κ±Έμž‘μœΌλ‘œ μ—¬κ²¨μ§€λŠ”
05:14
work of art ever achieved by mankind.
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그의 μž‘ν’ˆμ„ μ°Ύκ³  μžˆλŠ” μ€‘μž…λ‹ˆλ‹€.
05:17
As a matter of fact, this is by far the most important
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사싀 이 λ²½ν™”μž‘μ—…μ€ λ ˆμ˜€λ‚˜λ₯΄λ„κ°€ 의뒰 받은것 쀑
05:20
commission that Leonardo has ever had,
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κ°€μž₯ μ€‘μš”ν•œ κ²ƒμ΄μ—ˆμŠ΅λ‹ˆλ‹€.
05:23
and for doing this great masterpiece, he was named
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이 μž‘μ—…μ„ ν•˜λ©΄μ„œ λ ˆμ˜€λ‚˜λ₯΄λ„λŠ” κ·Έλ‹Ήμ‹œ
05:28
the number one artist influence at the time.
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졜고의 영ν–₯λ ₯ μžˆλŠ” μ˜ˆμˆ κ°€λ‘œ μ†κΌ½νžˆκ²Œ λ˜μ—ˆμ£ .
05:33
I had also had the privilege since the last 37 years
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μ € λ˜ν•œ μ§€λ‚œ 37λ…„κ°„ μ—¬λŸ¬ κ±Έμž‘λ“€μ„ 쑰사할 수 μžˆλŠ”
05:36
to work on several masterpieces as you can see behind me,
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νŠΉκΆŒμ„ λˆ„λ ΈμŠ΅λ‹ˆλ‹€. 제 뒀에 μ§€κΈˆ λ³΄μ‹œλŠ” 것 μ²˜λŸΌμš”.
05:40
but basically to do what? Well, to assess, for example,
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ν•˜μ§€λ§Œ 그림을 ν‰κ°€ν•˜λŠ”λ° μžˆμ–΄ 예λ₯Ό λ“€μžλ©΄
05:43
the state of conservation. See here the face of the
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주둜 λ³΄μ‘΄μƒνƒœμ— λŒ€ν•΄ 연ꡬλ₯Ό ν–ˆμ£ .
05:45
Madonna of the Chair that when just shining a UV light on it
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''μ˜μžμ— 앉은 μ„±λͺ¨' 그림에 μžμ™Έμ„ μ„ 쏘이면
05:50
you suddenly see another, different lady,
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λ‹€λ₯Έ 여인이 λ‚˜νƒ€λ‚©λ‹ˆλ‹€.
05:53
aged lady, I should rather say.
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μ•„λ‹ˆ, 더 λŠ™μ€ 여인이라고 해두죠.
05:55
There is a lot of varnish still sitting there, several retouches,
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μ—¬λŸ¬λ²ˆμ˜ λ¦¬ν„°μΉ˜μ™€ κ³Όλ‹€ν•œ ν΄λ¦¬λ‹μœΌλ‘œ μ—¬μ „νžˆ λ§Žμ€ μ–‘μ˜
05:59
and some over cleaning. It becomes very visible.
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λ°”λ‹ˆμ‹œκ°€ λ‚¨μ•„μžˆμŠ΅λ‹ˆλ‹€. κ·Έλž˜μ„œ μ•„μ£Ό μ„ λͺ…ν•˜κ²Œ λ°”λ€Œμ—ˆμ£ .
06:02
But also, technology has helped to write new pages
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κΈ°μˆ μ„ μ—­μ‚¬μ˜ μƒˆλ‘œμš΄ νŽ˜μ΄μ§€λ₯Ό 쓰기도 ν•©λ‹ˆλ‹€.
06:05
of our history, or at least to update pages of our histories.
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ν˜Ήμ€ 적어도 μ—…λ°μ΄νŠΈ μ •λ„λŠ” ν•˜λŠ” μ…ˆμ΄μ£ .
06:08
For example, the "Lady with the Unicorn,"
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ν•œ 예둜 λΌνŒŒμ—˜μ˜ 'μœ λ‹ˆμ½˜κ³Ό 여인'μ΄λž€ μž‘ν’ˆμ˜
06:10
another painting by Rafael, well, you see the unicorn.
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μœ λ‹ˆμ½˜μ— X-Rayλ₯Ό λΉ„μΆ”λ©΄
06:13
A lot has been said and written about the unicorn, but
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λŠλ‹·μ—†μ΄ 강아지가 λ‚˜νƒ€λ‚˜μ£ . (μ›ƒμŒ)
06:15
if you take an X-ray of the unicorn, it becomes a puppy dog.
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이 μœ λ‹ˆμ½˜μ΄ μƒμ§•ν•˜λŠ” 바에 λŒ€ν•œ λ§Žμ€ 이야기가 μžˆμ—ˆμ§€λ§Œ
06:19
And β€” (Laughter) β€” no problem, but, unfortunately,
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μœ κ°μŠ€λŸ½κ²Œλ„ 사싀
06:23
continuing with the scientific examination of this painting
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이 그림을 κ³Όν•™μ μœΌλ‘œ κ΄€μ°°ν•œ κ²°κ³Όλ‘œλŠ”
06:26
came out that Rafael did not paint the unicorn,
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λΌνŒŒμ—˜μ€ μœ λ‹ˆμ½˜μ΄λ‚˜ 강아지λ₯Ό 그린적이 μ—†μŠ΅λ‹ˆλ‹€.
06:29
did not paint the puppy dog, actually left the painting
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κ·ΈλŠ” 그림을 λ―Έμ™„μ„±μœΌλ‘œ 남겨 λ†“μ•˜μ£ .
06:32
unfinished, so all this writing about the exotic symbol
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κ·ΈλŸ¬λ‹ˆκΉŒ μœ λ‹ˆμ½˜ 특유의 상징적 이미지에 λŒ€ν•œ 글듀은
06:37
of the unicorn β€” (Laughter) β€” unfortunately,
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κ²°κ΅­ λΆˆν–‰ν•˜κ²Œλ„
06:39
is not very reliable. (Laughter)
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그닀지 λ―Ώμ„λ§Œν•œκ²Œ λͺ»λ©λ‹ˆλ‹€. (μ›ƒμŒ)
06:43
Well, also, authenticity. Just think for a moment
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μ΄λ²ˆμ—λŠ” μ§„ν’ˆ λͺ…화에 λŒ€ν•œ μ–˜κΈ°λ₯Ό 해보죠.
06:45
if science really could move in the field of authenticity
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만일 과학이 정말 μ§„ν’ˆ λͺ…화에 μ œλŒ€λ‘œ ν™œμš©μ΄ λœλ‹€λ©΄
06:49
of works of art. There would be a cultural revolution
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적어도 문화계에 μžˆμ–΄ ν˜μ‹ μ μΈ 일이 될 κ²ƒμž…λ‹ˆλ‹€.
06:53
to say the least, but also, I would say, a market revolution,
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μ΅œμ†Œν•œ μ‹œμž₯혁λͺ… 만큼의 사건이 λ μˆ˜λ„ μžˆμŠ΅λ‹ˆλ‹€.
06:56
let me add. Take this example:
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예λ₯Ό λ“€μ–΄λ³΄κ² μŠ΅λ‹ˆλ‹€.
06:58
Otto Marseus, nice painting, which is "Still Life"
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'κ³ μš”ν•œ μ‚Ά'μ΄λΌλŠ” μ˜€ν†  마λ₯΄μ„Έμš°μŠ€μ˜ μž‘ν’ˆμž…λ‹ˆλ‹€.
07:02
at the Pitti Gallery, and just have an infrared camera peering through,
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ν”Όν‹° λ―Έμˆ κ΄€μ— μ „μ‹œμ€‘μ΄μ£ . μ—¬κΈ° 적외선 카메라λ₯Ό λΉ„μΆ”λ©΄
07:06
and luckily for art historians, it just was confirmed
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μ˜ˆμˆ μ—­μ‚¬ν•™μžλ“€μ΄ κΈ°λ»ν• λ§Œν•œ 사싀이 λ‚˜νƒ€λ‚©λ‹ˆλ‹€.
07:10
that there is a signature of Otto Marseus. It even says
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μ˜€ν†  마λ₯΄μ„Έμš°μŠ€μ˜ μ„œλͺ…κ³Ό μ–Έμ œ, μ–΄λ””μ„œ κ·Έλ ΈλŠ”μ§€
07:12
when it was made and also the location.
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λͺ¨λ“  기둝이 λ“œλŸ¬λ‚©λ‹ˆλ‹€.
07:15
So that was a good result. Sometimes, it's not that good,
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이것은 μ•„μ£Ό 쒋은 사둀이고 보톡은 μ•ˆκ·ΈλŸ΄ λ•Œλ„ 많죠.
07:20
and so, again, authenticity and science could go together
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λ‹€μ‹œ 말해, μ§„ν’ˆ λͺ…화에 과학이 μ μš©λœλ‹€λ©΄
07:25
and change the way, not attributions being made,
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λˆ„κ΅¬μ˜ μž‘ν’ˆμΈμ§€μ— λŒ€ν•œ νŒλ³„μ— μžˆμ–΄
07:29
but at least lay the ground for a more objective,
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적어도 μ’€ 더 κ°κ΄€μ μœΌλ‘œ μ ‘κ·Όν•˜κ²Œ 도와쀄 κ²ƒμž…λ‹ˆλ‹€.
07:33
or, I should rather say, less subjective attribution,
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ν˜Ήμ€ 덜 μ£Όκ΄€μ μœΌλ‘œλΌκ³  ν•  수 μžˆκ² μ§€μš”.
07:37
as it is done today.
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였늘 λ³΄μ—¬λ“œλ¦°κ²ƒ 처럼 λ§μž…λ‹ˆλ‹€.
07:40
But I would say the discovery that really caught
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λ ˆμ˜€λ‚˜λ₯΄λ„μ˜ 'λ™λ°©λ°•μ‚¬μ˜ 예배'λž€ μž‘ν’ˆμ„ λΆ„μ„ν•˜λ©΄
07:43
my imagination, my admiration, is the incredibly vivid
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κ°ˆμƒ‰μœΌλ‘œ λ³΄μ΄λŠ” 이 λΆ€λΆ„ μ•„λž˜μ— 묻힌 μ•„μ£Ό μ„ λͺ…ν•œ
07:47
drawing under this layer, brown layer,
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또 λ‹€λ₯Έ 그림듀을 λ³Ό 수 μžˆμŠ΅λ‹ˆλ‹€.
07:51
of "The Adoration of the Magi." Here you see
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정말 감탄을 μ•ˆν• μˆ˜κ°€ μ—†μ£ .
07:54
a handmade setting XYZ scanner with an infrared camera put on it,
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XYZ μŠ€μΊλ„ˆμ™€ 적외선 카메라λ₯Ό μ„€μΉ˜ν•˜κ³ 
07:58
and just peering through this brown layer
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이 κ°ˆμƒ‰ 뢀뢄을 κ΄€μ°°ν•˜λ©΄
08:02
of this masterpiece to reveal
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λ ˆμ˜€λ‚˜λ₯΄λ„μ˜ κ±Έμž‘ 속에
08:04
what could have been underneath.
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무엇이 μˆ¨μ–΄ μžˆμ—ˆλŠ”μ§€ λ“œλŸ¬λ‚©λ‹ˆλ‹€.
08:07
Well, this happens to be the most important painting
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이것은 μ΄νƒˆλ¦¬μ•„κ°€ μ†Œμž₯ν•˜κ³  μžˆλŠ” λ ˆμ˜€λ‚˜λ₯΄λ„ λ‹€λΉˆμΉ˜μ˜
08:09
we have in Italy by Leonardo da Vinci, and
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μž‘ν’ˆ 쀑 κ°€μž₯ κ·€μ€‘ν•œ μžλ£Œμž…λ‹ˆλ‹€.
08:12
look at the wonderful images of faces that nobody has seen
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μ—¬κΈ° 5μ„ΈκΈ°λ™μ•ˆ 아무도 보지 λͺ»ν–ˆλ˜
08:17
for five centuries. Look at these portraits.
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μ•„λ¦„λ‹€μš΄ 인물의 이미지듀을 λ³΄μ‹­μ‹œμ˜€.
08:21
They're magnificent. You see Leonardo at work.
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정말 λ†€λžμ§€ μ•Šλ‚˜μš”. 이것이 λ ˆμ˜€λ‚˜λ₯΄λ„κ°€ μž‘μ—…ν•œ κ²ƒμž…λ‹ˆλ‹€.
08:23
You see the geniality of his creation, right directly
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μš°λ¦¬λŠ” μ§€κΈˆ κ·Έκ°€ ν™”νŒμ— μ‹€μ œλ‘œ 직접 κ·Έλ¦°
08:27
on the ground layer of the panel, and see
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그림을 보고 μžˆλŠ” κ²λ‹ˆλ‹€.
08:30
this cool thing, finding, I should rather say,
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μ—¬κΈ° 멋진 κ±Έ 또 μ°Ύμ•˜λŠ”λ° λ³΄μ‹œμ£ .
08:36
an elephant. (Laughter) Because of this elephant,
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μ½”λΌλ¦¬μ—μš”. (μ›ƒμŒ) 이것을 포함해 μˆ˜μ„ΈκΈ°λ™μ•ˆ λ¬»ν˜€μžˆλ˜
08:39
over 70 new images came out, never seen for centuries.
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70κ°œκ°€ λ„˜λŠ” μƒˆλ‘œμš΄ 이미지가 λ°œκ²¬λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
08:43
This was an epiphany. We came to understand
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이둜써 깨달은 게 μžˆμ—ˆμ£ . μš°λ¦¬λŠ” μ˜€λŠ˜λ‚  보고 μžˆλŠ”
08:46
and to prove that the brown coating that we see today
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이 κ°ˆμƒ‰μ˜ μ½”νŒ…λ©΄μ΄ 사싀 λ ˆμ˜€λ‚˜λ₯΄λ„κ°€ ν•œ 것이
08:50
was not done by Leonardo da Vinci, which left us
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μ•„λ‹ˆλΌλŠ” 것을 μ•Œκ²Œ λ˜μ—ˆκ³  이λ₯Ό 증λͺ…ν–ˆμŠ΅λ‹ˆλ‹€.
08:52
only the other drawing that for five centuries
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κ·Έκ°€ 남긴건 μš°λ¦¬κ°€ 500λ…„κ°„ 보지 λͺ»ν–ˆλ˜
08:55
we were not able to see, so thanks only to technology.
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μ „ν˜€ λ‹€λ₯Έ κ·Έλ¦Όμ΄μ—ˆλ˜κ±°μ£ , λ‹€ 기술의 λ•νƒμž…λ‹ˆλ‹€.
09:00
Well, the tablet. Well, we thought, well, if we all have
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이제 νƒœλΈ”λ¦Ώμ— λŒ€ν•΄ λ§μ”€λ“œλ¦¬κ³ μž ν•©λ‹ˆλ‹€.
09:05
this pleasure, this privilege to see all this,
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λͺ¨λ“  μ‚¬λžŒλ“€μ΄ μ΄λŸ¬ν•œ 것듀을 λ³Ό 특ꢌ과
09:07
to find all these discoveries, what about for everybody else?
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발견의 즐거움을 κ°€μ‘ŒμœΌλ©΄ μ’‹κ² λ‹€λŠ” 생각을 ν–ˆμŠ΅λ‹ˆλ‹€.
09:11
So we thought of an augmented reality application
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κ·Έλž˜μ„œ νƒœλΈ”λ¦Ώμ„ μ΄μš©ν•œ μ–΄ν”Œλ¦¬μΌ€μ΄μ…˜μ„ μƒκ°ν•΄λƒˆμ£ .
09:14
using a tablet. Let me show you just simulating
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μ œκ°€ μ‚¬μš©λ°©λ²•μ„ λ³΄μ—¬λ“œλ¦¬κ² μŠ΅λ‹ˆλ‹€.
09:18
what we could be doing, any of us could be doing,
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λ―Έμˆ κ΄€μ— μžˆλŠ” λˆ„κ΅¬λ‚˜
09:22
in a museum environment.
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μ‰½κ²Œ ν•  수 μžˆμŠ΅λ‹ˆλ‹€.
09:24
So let's say that we go to a museum with a tablet, okay?
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μš°λ¦¬κ°€ μ§€κΈˆ λ―Έμˆ κ΄€μ— νƒœλΈ”λ¦Ώμ„ 가지고 κ°”λ‹€κ³  치죠.
09:28
And we just aim the camera of the tablet
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인상 κΉŠμ€ 그림에 μ΄λ ‡κ²Œ νƒœλΈ”λ¦Ώμ„ λŒ€κ³ 
09:32
to the painting that we are interested to see, like this.
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μΉ΄λ©”λΌλ‘œ μ°μŠ΅λ‹ˆλ‹€.
09:38
Okay? And I will just click on it, we pause,
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μ—¬κΈΈ λˆ„λ₯΄κΈ°λ§Œ ν•˜λ©΄ λ©λ‹ˆλ‹€.
09:44
and now let me turn to you so the moment the image,
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μ—¬λŸ¬λΆ„κ»˜ 이미지λ₯Ό λ³΄μ—¬λ“œλ¦΄κ»˜μš”.
09:48
or, I should say, the camera, has locked in the painting,
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카메라에 그림이 ν™•μ‹€νžˆ μž‘ν˜”μ£ .
09:51
then the images you just saw up there in the drawing
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μ‘°κΈˆμ „μ— λ³΄μ…¨λ˜ 이미지가
09:54
are being loaded. And so, see.
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λ‚˜νƒ€λ‚ κ²ƒμž…λ‹ˆλ‹€. λ³΄μ΄μ‹œμ£ .
09:57
We can, as we said, we can zoom in. Then we can scroll.
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그럼 이제 ν™•λŒ€ν•΄μ„œ μ•„λž˜λ‘œ λ‚΄λ €λ³΄κ² μŠ΅λ‹ˆλ‹€.
10:01
Okay? Let's go and find the elephant.
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μ’‹μ•„μš”, 이제 코끼리λ₯Ό μ°Ύμ•„λ³ΌκΉŒμš”.
10:06
So all we need is one finger. Just wipe off
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손가락 ν•˜λ‚˜λ©΄ λ©λ‹ˆλ‹€. μ΄λ ‡κ²Œ κΈμ–΄μž¬λ©΄μš”.
10:09
and we see the elephant. (Applause)
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코끼리가 λ³΄μž…λ‹ˆλ‹€. (λ°•μˆ˜)
10:14
(Applause)
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(λ°•μˆ˜)
10:18
Okay? And then if we want,
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μ–΄λ–»μŠ΅λ‹ˆκΉŒ? 만일 μš°λ¦¬κ°€
10:20
we can continue the scroll to find out, for example,
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λ‹€λ₯Έκ²ƒλ„ μ°Ύκ³  μ‹Άλ‹€λ©΄, 예λ₯Ό λ“€μ–΄
10:23
on the staircase, the whole iconography is going
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이 계단을 긁어내면 μž‘ν’ˆμ— λŒ€ν•œ 해석이 λ‹¬λΌμ§‘λ‹ˆλ‹€.
10:27
to be changed. There are a lot of laymen reconstructing
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λ§Žμ€ λΉ„ 전문가듀이 사원을 μž¬κ±΄ν–ˆκΈ° λ•Œλ¬Έμ—
10:29
from the ruins of an old temple a new temple,
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λ‚‘κ³  였래된 신전을 μƒˆκ²ƒμœΌλ‘œ λ°”κΏ”λ†“μ•˜μ£ .
10:32
and there are a lot of figures showing up. See?
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κ·Έ 밖에 또 λ‹€λ₯Έ ν˜•νƒœλ“€μ΄ λ‚˜νƒ€λ‚©λ‹ˆλ‹€. λ³΄μ΄μ‹œλ‚˜μš”?
10:36
This is not just a curiosity, because it changes
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이것은 λ‹¨μˆœν•œ ν˜ΈκΈ°μ‹¬μ΄ μ•„λ‹™λ‹ˆλ‹€.
10:39
not just the iconography as you see it, but the iconology,
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단지 그림의 해석이 λ‹¬λΌμ§€λŠ” 것 뿐 μ•„λ‹ˆλΌ
10:42
the meaning of the painting,
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그림의 의미λ₯Ό ν•΄μ„ν•˜λŠ” 도상학에 μžˆμ–΄
10:44
and we believe this is a cool way, easy way,
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정말 멋지고 μ‰¬μš΄ 방법이 아닐 수 μ—†μŠ΅λ‹ˆλ‹€.
10:47
that everybody could have access to, to become more
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λˆ„κ΅¬λ‚˜ ν•  수 μžˆλŠ” 것이기도 ν•˜κ³ μš”.
10:50
the protagonist of your own discovery, and not just
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μ—¬λŸ¬λΆ„λ„ 이런 발견의 주인곡이 될 수 μžˆμŠ΅λ‹ˆλ‹€.
10:54
be so passive about it, as we are when we walk through
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κ·ΈλŸ¬λ‹ˆ λ―Έμˆ κ΄€μ— 갔을 λ•Œ κ·Έλƒ₯ μˆ˜λ™μ μœΌλ‘œ
10:57
endless rooms of museums.
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ꡬ경만 ν•˜μ§€ λ§ˆμ‹­μ‹œμ˜€.
11:01
(Applause)
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(λ°•μˆ˜)
11:06
Another concept is the digital clinical chart, which sounds
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ν™˜μžμ˜ μƒνƒœλ₯Ό 말할 λ•ŒλŠ” λ‹Ήμ—°νžˆ
11:10
very obvious if we were to talk about real patients,
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디지털 μž„μƒμ°¨νŠΈλ₯Ό 가지고 이야기 ν•©λ‹ˆλ‹€.
11:13
but when we talk about works of art, unfortunately,
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ν•˜μ§€λ§Œ λΆˆν–‰νžˆλ„ μ˜ˆμˆ μž‘ν’ˆμ˜ μƒνƒœμ— λŒ€ν•΄ 말할 λ•Œ
11:15
it's never been tapped as an idea.
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이런 아이디어가 적용된 적이 κ²°μ½” μ—†μ—ˆμ£ .
11:17
Well, we believe, again, that this should be the beginning,
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μ €λŠ” 이제 μ‹œμž‘μ΄λΌκ³  λ―ΏμŠ΅λ‹ˆλ‹€.
11:20
the very first step, to do real conservation,
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μ§„μ •ν•œ μ˜ˆμˆ μž‘ν’ˆ 보쑴의 μ²«μ‹œμž‘κ³Ό ν•¨κ»˜
11:22
and allowing us to really explore and to understand
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μš°λ¦¬κ°€ μž‘ν’ˆμ— λŒ€ν•΄ μ‘°μ‚¬ν•˜κ³  μ΄ν•΄ν• μˆ˜ μžˆκΈ°μœ„ν•œ
11:26
everything related to the state of our conservation,
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보쑴과 κ΄€λ ¨λœ λͺ¨λ“  μ ˆμ°¨μ— λŒ€ν•΄μ„œ ν—ˆμš©λ„ 이제 막 μ‹œμž‘λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
11:28
the technique, materials, and also if, when, and why
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λ˜ν•œ μž‘ν’ˆ 볡원에 λ”°λ₯΄λŠ” 기술λ ₯, 재료 λ“± 도 이제 μ‹œμž‘μ΄λ©°
11:32
we should restore, or, rather, to intervene on
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λ‚˜μ•„κ°€ 그림에 영ν–₯을 λ―ΈμΉ˜λŠ” ν™˜κ²½μš”μΈ κΉŒμ§€λ„
11:36
the environment surrounding the painting.
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μ΄λŸ¬ν•œ 흐름에 ν¬ν•¨λ˜κ³  μžˆλ‹€.
11:40
Well, our vision is to rediscover
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우리의 λͺ©ν‘œλŠ” λ₯΄λ„€μƒμŠ€ μ‹œλŒ€μ˜
11:43
the spirit of the Renaissance, create a new discipline
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정신을 μž¬λ°œκ²¬ν•˜κ³  예술과 과학을 μœ΅ν•©ν•˜μ—¬
11:46
where engineering for cultural heritage is actually
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문화적 μœ μ‚°μ„ 기술적으둜 λ‹€λ£¨λŠ”
11:49
a symbol of blending art and science together.
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μƒˆλ‘œμš΄ 기법을 λ§Œλ“œλŠ” 데 μžˆμŠ΅λ‹ˆλ‹€.
11:52
We definitely need a new breed of engineers
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특히 였늘 λ‚  μš°λ¦¬κ°€ μΆ”κ΅¬ν•˜λŠ”
11:54
that will go out and do this kind of work and
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μ΄λŸ¬ν•œ 문화적인 κ°€μΉ˜λ₯Ό μž¬λ°œκ²¬ν•˜κ³ 
11:57
rediscover for us these values, these cultural values
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연ꡬ할 수 μžˆλŠ” 기술인λ ₯이
12:01
that we badly need, especially today.
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맀우 μ ˆμ‹€ν•©λ‹ˆλ‹€.
12:04
And if you want to summarize in one just single word,
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이제 ν•œλ§ˆλ””λ‘œ μ •λ¦¬ν•˜μžλ©΄,
12:08
well, this is what we're trying to do.
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μš°λ¦¬κ°€ λ°”λΌλŠ” λ°”λŠ” μ΄λ ‡μŠ΅λ‹ˆλ‹€.
12:11
We're trying to give a future to our past
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더 λ‚˜μ€ 미래λ₯Ό κ°–κΈ° μœ„ν•΄ μš°λ¦¬λŠ”
12:13
in order to have a future.
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κ³Όκ±°μ—κ²Œ 미래λ₯Ό μ„ λ¬Όν•˜κ³ μž ν•©λ‹ˆλ‹€.
12:15
As long as we live a life of curiosity and passion,
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인생을 ν˜ΈκΈ°μ‹¬κ³Ό μ—΄μ •μœΌλ‘œ μ‚°λ‹€λ©΄ 우리 λͺ¨λ‘
12:18
there is a bit of Leonardo in all of us. Thank you. (Applause)
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λ˜ν•œ λ ˆμ˜€λ‚˜λ₯΄λ„ 같을 수 μžˆμ§€ μ•Šμ„κΉŒμš”. κ°μ‚¬ν•©λ‹ˆλ‹€. (λ°•μˆ˜)
12:23
(Applause)
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(λ°•μˆ˜)
이 μ›Ήμ‚¬μ΄νŠΈ 정보

이 μ‚¬μ΄νŠΈλŠ” μ˜μ–΄ ν•™μŠ΅μ— μœ μš©ν•œ YouTube λ™μ˜μƒμ„ μ†Œκ°œν•©λ‹ˆλ‹€. μ „ 세계 졜고의 μ„ μƒλ‹˜λ“€μ΄ κ°€λ₯΄μΉ˜λŠ” μ˜μ–΄ μˆ˜μ—…μ„ 보게 될 κ²ƒμž…λ‹ˆλ‹€. 각 λ™μ˜μƒ νŽ˜μ΄μ§€μ— ν‘œμ‹œλ˜λŠ” μ˜μ–΄ μžλ§‰μ„ 더블 ν΄λ¦­ν•˜λ©΄ κ·Έκ³³μ—μ„œ λ™μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€. λΉ„λ””μ˜€ μž¬μƒμ— 맞좰 μžλ§‰μ΄ μŠ€ν¬λ‘€λ©λ‹ˆλ‹€. μ˜κ²¬μ΄λ‚˜ μš”μ²­μ΄ μžˆλŠ” 경우 이 문의 양식을 μ‚¬μš©ν•˜μ—¬ λ¬Έμ˜ν•˜μ‹­μ‹œμ˜€.

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