Luke Syson: How I learned to stop worrying and love "useless" art

84,049 views ・ 2014-01-16

TED


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

λ²ˆμ—­: K Bang κ²€ν† : MINA WOO
00:12
Two years ago, I have to say there was no problem.
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두 ν•΄ μ „μ—λŠ” μ•„λ¬΄λŸ° λ¬Έμ œκ°€ μ—†μ—ˆμŠ΅λ‹ˆλ‹€.
00:15
Two years ago, I knew exactly what an icon looked like.
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두 ν•΄ μ „μ—λŠ” μ‹œλŒ€λ₯Ό λŒ€ν‘œν•˜λŠ” μž‘ν’ˆμ΄λž€ μ–΄λ•Œμ•Ό ν•˜λŠ”μ§€ μ •ν™•νžˆ μ•Œκ³  μžˆμ—ˆμ§€μš”.
00:19
It looks like this.
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이런 κ²ƒμ΄μ—ˆμ£ .
00:21
Everybody's icon, but also the default position
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λͺ¨λ‘μ—κ²Œ 상징적 μž‘ν’ˆμ΄μ—ˆ 뿐만 μ•„λ‹ˆλΌ μ΄νƒˆλ¦¬μ•„ λ₯΄λ„€μƒμŠ€ 미술의
00:24
of a curator of Italian Renaissance paintings, which I was then.
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νλ ˆμ΄ν„°μ˜€λ˜ μ €μ—κ²Œλ„ 기본적인 μž…μž₯μ΄μ˜€μ£ .
00:28
And in a way, this is also another default selection.
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μ–΄λ–€ λ©΄μœΌλ‘œλŠ” 이것도 또 λ‹€λ₯Έ 기본적인 μ„ νƒμ΄μ—ˆμ£ .
00:32
Leonardo da Vinci's exquisitely soulful image
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λ ˆμ˜€λ‚˜λ₯΄λ„ λ‹€λΉˆμΉ˜μ˜ μ •κ΅ν•˜κ³  감동적인
00:36
of the "Lady with an Ermine."
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"흰담비λ₯Ό μ•ˆμ€ 여인"μž…λ‹ˆλ‹€.
00:38
And I use that word, soulful, deliberately.
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그리고 μ €λŠ” μ‹ μ€‘ν•˜κ²Œ '감동적' μ΄λž€ 단어λ₯Ό μ‚¬μš©ν•©λ‹ˆλ‹€.
00:40
Or then there's this, or rather these:
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ν˜Ήμ€ 이런 μž‘ν’ˆλ„ μžˆμ§€μš”.
00:42
the two versions of Leonardo's "Virgin of the Rocks"
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두 가지 ν˜•νƒœμ˜ λ‹€λΉˆμΉ˜μ˜ "μ•”κ΅΄μ˜ μ„±λͺ¨"둜
00:45
that were about to come together in London for the very first time.
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λŸ°λ˜μ—μ„œ 처음으둜 두 μž‘ν’ˆμ΄ ν•¨κ»˜ μ „μ‹œλ  μ˜ˆμ •μ΄μ—ˆμ£ .
00:49
In the exhibition that I was then in the absolute throes of organizing.
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κ·Έ μ „μ‹œνšŒλ₯Ό μ€€λΉ„ν•˜λŠλΌ 정말 νž˜λ“€μ—ˆμŠ΅λ‹ˆλ‹€.
00:54
I was literally up to my eyes in Leonardo,
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μ €λŠ” 말 κ·ΈλŒ€λ‘œ λ‹€λΉˆμΉ˜μ— λͺ°λ‘ν•΄ μžˆμ—ˆκ³ 
00:57
and I had been for three years.
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3 λ…„κ°„ κ·Έλž˜μ™”μŠ΅λ‹ˆλ‹€.
00:59
So, he was occupying every part of my brain.
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λ‹€λΉˆμΉ˜κ°€ 제 λ‡Œμ˜ ꡬ석ꡬ석을 μ§€λ°°ν–ˆμ§€μš”.
01:03
Leonardo had taught me, during that three years,
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κ·ΈλŠ” 3 λ…„ λ™μ•ˆ 미술이 무엇을 ν•  수 μžˆλŠ”μ§€λ₯Ό
01:06
about what a picture can do.
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κ°€λ₯΄μ³μ™”μŠ΅λ‹ˆλ‹€.
01:08
About taking you from your own material world into a spiritual world.
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물질적인 μ„Έμƒμ—μ„œ 영적인 μ„ΈμƒμœΌλ‘œ μΈλ„ν•˜λŠ” 것에 λŒ€ν•΄μ„œ 말이죠.
01:13
He said, actually, that he believed the job of the painter
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κ·ΈλŠ” μ‹€μ œλ‘œ λ―Έμˆ κ°€μ˜ 역할이
01:16
was to paint everything that was visible and invisible in the universe.
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μš°μ£Όμ—μ„œ λ³΄μ΄κ±°λ‚˜ 보이지 μ•ŠλŠ” λͺ¨λ“  것을 κ·Έλ¦¬λŠ” 것이라 λ―Ώμ—ˆμŠ΅λ‹ˆλ‹€.
01:21
That's a huge task. And yet, somehow he achieves it.
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μ—„μ²­λ‚œ μΌμ΄μ§€λ§Œ μ–΄μ¨Œλ“  κ·ΈλŠ” ν•΄λƒˆμ§€μš”.
01:25
He shows us, I think, the human soul.
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μ €λŠ” κ·Έκ°€ μΈκ°„μ˜ μ˜ν˜Όμ„ 보여쀀닀고 μƒκ°ν•©λ‹ˆλ‹€.
01:27
He shows us the capacity of ourselves
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κ·ΈλŠ” μš°λ¦¬μ—κ²Œ 영적인 μ„Έκ³„λ‘œ λ“€μ–΄κ°ˆ 수 μžˆλŠ”
01:32
to move into a spiritual realm.
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우리 μžμ‹ μ˜ μ—­λŸ‰μ„ λ³΄μ—¬μ€λ‹ˆλ‹€.
01:35
To see a vision of the universe that's more perfect than our own.
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μš°λ¦¬λ³΄λ‹€ μ™„λ²½ν•œ μš°μ£Όκ΄€μ„ 보기 μœ„ν•΄,
01:40
To see God's own plan, in some sense.
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μ–΄λ–€ λ©΄μ—μ„œλŠ” μ‹ λ§Œμ˜ κ³„νšμ„ 보기 μœ„ν•΄ 말이죠.
01:43
So this, in a sense, was really what I believed an icon was.
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μ–΄λ–€ μ˜λ―Έμ—μ„œ μ œκ°€ μ‹œλŒ€μ˜ λŒ€ν‘œμž‘μ΄λΌκ³  λ―Ώμ—ˆλ˜ 것은 이런 κ²ƒμ΄μ—ˆμŠ΅λ‹ˆλ‹€.
01:47
At about that time, I started talking to Tom Campbell,
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λ‹Ήμ‹œ μ €λŠ” 이곳 λ©”νŠΈλ‘œν΄λ¦¬νƒ„ λ―Έμˆ κ΄€μž₯인
01:51
director here of the Metropolitan Museum,
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ν†° μΊ λ²¨μ—κ²Œ λ‹€μŒ 일거리에 λŒ€ν•΄
01:54
about what my next move might be.
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μ΄μ•ΌκΈ°ν•˜κΈ° μ‹œμž‘ν–ˆμŠ΅λ‹ˆλ‹€.
01:57
The move, in fact, back to an earlier life,
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μƒˆλ‘œμš΄ 일은 사싀 μ œκ°€ λŒ€μ˜ λ°•λ¬Όκ΄€μ—μ„œ
02:00
one I'd begun at the British Museum,
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μ œκ°€ μ˜ˆμ „μ— μ‹œμž‘ν–ˆλ˜ 뢄야인
02:02
back to the world of three dimensions --
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μž…μ²΄ μ‘°ν˜•λ¬Ό -- 쑰각과 μž₯식 미술 --
02:04
of sculpture and of decorative arts --
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λΆ„μ•Όλ‘œ λŒμ•„κ°€ λ©”νŠΈλ‘œν΄λ¦¬νƒ„ λ―Έμˆ κ΄€μ—μ„œ
02:07
to take over the department of European sculpture and decorative arts, here at the Met.
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유럽의 쑰각과 μž₯식 미술 뢀문을 λ§‘λŠ” κ²ƒμ΄μ—ˆμŠ΅λ‹ˆλ‹€.
02:11
But it was an incredibly busy time.
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ν•˜μ§€λ§Œ λ‹Ήμ‹œ μ €λŠ” 말도 λͺ»ν•˜κ²Œ λ°”λΉ΄μ£ .
02:12
All the conversations were done at very peculiar times of the day --
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λͺ¨λ“  λŒ€ν™”λŠ” κ·Έλ‚  μ•„μ£Ό λ³„λ‚œ μ‹œκ°„μ—
02:16
over the phone.
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μ „ν™” ν†΅ν™”λ‘œ μ΄λ£¨μ–΄μ‘ŒμŠ΅λ‹ˆλ‹€.
02:19
In the end, I accepted the job
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κ²°κ΅­ ν•œ λ²ˆλ„ 그곳에 가보지도 μ•Šκ³ 
02:21
without actually having been here.
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κ·Έ 일을 맑기둜 ν–ˆμ§€μš”.
02:22
Again, I'd been there a couple of years before,
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λ¬Όλ‘  λͺ‡ λ…„ 전에 κ°€λ³Έ 적은 μžˆμ—ˆμ§€λ§Œ
02:25
but on that particular visit.
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κ·Έμ € 개인적인 λ°©λ¬Έμ΄μ—ˆμ£ .
02:27
So, it was just before the time that the Leonardo show was due to open
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λ‹Ήμ‹œλŠ” λ‹€λΉˆμΉ˜ μ „μ‹œνšŒκ°€ 개졜되기 μ§μ „μ΄μ—ˆκ³ 
02:31
when I finally made it back to the Met, to New York,
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μ €λŠ” κ²°κ΅­ λ‰΄μš•μ˜ λ©”νŠΈλ‘œν΄λ¦¬νƒ„ λ―Έμˆ κ΄€μœΌλ‘œ μ™€μ„œ
02:35
to see my new domain.
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제 μƒˆλ‘œμš΄ λΆ€μ„œλ₯Ό λ‘˜λŸ¬λ³΄κ²Œ λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
02:37
To see what European sculpture and decorative arts looked like,
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유럽 쑰각과 μž₯식 미술이 어떀지 λ³΄λŠ” 것은
02:41
beyond those Renaissance collections with which I was so already familiar.
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μ œκ°€ 이미 μ΅μˆ™ν–ˆλ˜ λ₯΄λ„€μƒμŠ€ μž‘ν’ˆλ“€μ„ λ³΄λŠ” κ²ƒκ³ΌλŠ” λ‹¬λžμŠ΅λ‹ˆλ‹€.
02:45
And I thought, on that very first day, I better tour the galleries.
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첫 λ‚  μ „μ‹œκ΄€μ„ λ‘˜λŸ¬λ³΄λŠ” 것이 μ’‹κ² λ‹€κ³  μƒκ°ν–ˆμŠ΅λ‹ˆλ‹€.
02:48
Fifty-seven of these galleries --
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57개의 μ „μ‹œκ΄€λ“€μ€
02:50
like 57 varieties of baked beans, I believe.
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μ œκ°€ 보기에 57가지 μ’…λ₯˜μ˜ 읡힌 콩듀과 κ°™μ•˜μ–΄μš”.
02:55
I walked through and I started in my comfort zone in the Italian Renaissance.
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μ „μ‹œκ΄€μ„ μ§€λ‚˜κ°€λ©΄μ„œ 제게 κ°€μž₯ μ΅μˆ™ν•œ μ΄νƒˆλ¦¬μ•„ λ₯΄λ„€μƒμŠ€μ‹€λΆ€ν„° μ‹œμž‘ν–ˆμ§€μš”.
03:01
And then I moved gradually around,
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그리고 λŒμ•„λ‹€λ‹ˆλ©΄μ„œ 점점
03:03
feeling a little lost sometimes.
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λ•Œλ•Œλ‘œ 길을 μžƒμ€ λ“―ν•œ 기뢄이 λ“€μ—ˆμ–΄μš”.
03:06
My head, also still full of the Leonardo exhibition
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제 λ¨Έλ¦Ώ μ†μ—λŠ” μ—¬μ „νžˆ 곧 κ°œκ΄€ν• 
03:09
that was about to open, and I came across this.
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λ‹€λΉˆμΉ˜ μ „μ‹œνšŒκ°€ κ°€λ“ν–ˆλŠ”λ° κ°‘μžκΈ° 이걸 λ§ˆμ£Όν–ˆμ£ .
03:13
And I thought to myself: What the hell have I done?
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그리고 μ΄λ ‡κ²Œ μƒκ°ν–ˆμŠ΅λ‹ˆλ‹€. λ‚΄κ°€ λŒ€μ²΄ 무슨 짓을 ν•œκ±°μ§€?
03:21
There was absolutely no connection in my mind
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κ²°κ΅­ μ €λŠ” κ°ˆν”Όλ₯Ό λͺ» μž‘μ•˜κ³ 
03:24
at all and, in fact, if there was any emotion going on,
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κ·Έ μˆœκ°„μ˜ 감정은
03:27
it was a kind of repulsion.
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μΌμ’…μ˜ κ±°λΆ€κ°μ΄μ—ˆμ£ .
03:30
This object felt utterly and completely alien.
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이 μž‘ν’ˆμ€ μ² μ €ν•˜κ²Œ λ‚―μ„€μ—ˆμŠ΅λ‹ˆλ‹€.
03:33
Silly at a level that I hadn't yet understood silliness to be.
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μ–΄λ¦¬μ„λ‹€λŠ” 것이 어떀건지 깨닫기도 μ „μ˜ 어리석은 λ‹¨κ³„μ˜€μ£ .
03:38
And then it was made worse --
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λ”κ΅°λ‹€λ‚˜ 상황을 μ•…ν™”μ‹œν‚¨ 건
03:41
there were two of them.
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이게 두 κ°œλΌλŠ” κ±°μ˜€μ£ .
03:42
(Laughter)
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(μ›ƒμŒ)
03:46
So, I started thinking about why it was, in fact,
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κ·Έλž˜μ„œ μ €λŠ” μ†”μ§νžˆ 말해 μ™œ 이 μž‘ν’ˆμ΄
03:49
that I disliked this object so much.
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κ·Έλ ‡κ²Œλ„ 싫은지에 λŒ€ν•΄ μƒκ°ν•˜κΈ° μ‹œμž‘ν–ˆμ–΄μš”.
03:51
What was the anatomy of my distaste?
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λ‚΄κ°€ κ°–λŠ” 혐였감의 근간은 κ³Όμ—° 무엇인가?
03:55
Well, so much gold, so vulgar.
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κΈ€μŽ„μš”, λ„ˆλ¬΄ λ§Žμ€ 금μž₯이 ꡉμž₯히 μ²œλ°•ν•΄μš”.
03:58
You know, so nouveau riche, frankly.
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μ•„μ‹œμ£ , μ†”μ§νžˆ 말해 λ„ˆλ¬΄ μ‘ΈλΆ€κ°™μž–μ•„μš”.
04:02
Leonardo himself had preached against the use of gold,
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λ‹€λΉˆμΉ˜λŠ” 슀슀둜 금의 μ‚¬μš©μ„ μžμ œν•΄μ•Ό ν•œλ‹€κ³  μ—­μ„€ν–ˆμ—ˆμ£ .
04:05
so it was absolutely anathema at that moment.
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κ·ΈλŸ¬λ‹ˆ 이걸 λ³Έ μˆœκ°„ μ™„λ²½ν•˜κ²Œ ν˜μ˜€μŠ€λŸ¬μ› μ£ .
04:08
And then there's little pretty sprigs of flowers everywhere. (Laughter)
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κ²Œλ‹€κ°€ μ—¬κΈ°λŠ” 온 사방에 μž‘μ€ 꽃가지듀이 μžˆμž–μ•„μš”. (μ›ƒμŒ)
04:14
And finally, that pink. That damned pink.
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κ²°μ •νƒ€λ‘œ μ € 뢄홍색, μ € 망할 뢄홍색.
04:17
It's such an extraordinarily artificial color.
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저건 λͺΉμ‹œ 인곡적인 μƒ‰μƒμ΄μ—μš”.
04:20
I mean, it's a color that I can't think of anything that you actually see in nature,
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제 말은 μ €λŸ° λͺ…암을 가진 색상같은 건
04:24
that looks that shade.
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μžμ—°μ—μ„œ λ³Ό 수 μ—†λ‹€λŠ” κ±°μ—μš”.
04:27
The object even has its own tutu. (Laughter)
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심지어 발레용 μΉ˜λ§ˆλ„ μž…κ³  μžˆμ–΄μš”. (μ›ƒμŒ)
04:31
This little flouncy, spangly, bottomy bit
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주름지고, λ°˜μ§κ±°λ¦¬λŠ” μž‘μ€ λ°›μΉ¨ 뢀뢄듀이
04:33
that sits at the bottom of the vase.
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이 항아리 밑면에 자리작고 μžˆλŠ”λ°
04:35
It reminded me, in an odd kind of way,
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μ €λŠ” μ΄μƒν•˜κ²Œλ„
04:37
of my niece's fifth birthday party.
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제 쑰카의 λ‹€μ„― μ‚΄ 생일 νŒŒν‹°κ°€ μƒκ°λ‚˜λ”κ΅°μš”.
04:40
Where all the little girls would come either as a princess or a fairy.
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λͺ¨λ“  μ—¬μž 아이듀이 κ³΅μ£Όλ‚˜ μš”μ • μ˜·μ„ μž…κ³  μ˜€λŠ” νŒŒν‹° λ§μ΄μ—μš”.
04:44
There was one who would come as a fairy princess.
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μš”μ • 곡주 λͺ¨μŠ΅μœΌλ‘œ μ˜€κ³€ν–ˆλ˜ 아이가 ν•˜λ‚˜ μžˆμ—ˆμ£ .
04:46
You should have seen the looks.
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κ·Έ λͺ¨μŠ΅μ„ λ³΄μ…¨μ–΄μ•Όν•˜λŠ”λ° λ§μ΄μ—μš”.
04:48
(Laughter)
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(μ›ƒμŒ)
04:50
And I realize that this object was in my mind,
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그리고 이 μž‘ν’ˆμ΄ 같은 생각,
04:53
born from the same mind, from the same womb,
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같은 λͺ¨νƒœμ—μ„œ λ‚˜μ™”λ‹€λŠ” 것을 κΉ¨λ‹¬μ•˜μ–΄μš”.
04:56
practically, as Barbie Ballerina. (Laughter)
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정말 λ°œλ ˆλ¦¬λ‚˜ λ°”λΉ„ μΈν˜•κ³Ό κ°™λ‹€λŠ”κ±°μ£ . (μ›ƒμŒ)
05:02
And then there's the elephants. (Laughter)
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그리고 코끼리듀이 μžˆμ–΄μš”. (μ›ƒμŒ)
05:05
Those extraordinary elephants
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μ € κΈ°μ΄ν•œ 코끼리듀은
05:07
with their little, sort of strange, sinister expressions
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μž‘κ³ , λ­”κ°€ μ΄μƒν•˜κ³  λΆˆκΈΈν•œ 감정을 λ“œλŸ¬λ‚΄κ³ 
05:10
and Greta Garbo eyelashes, with these golden tusks and so on.
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κ·Έλ ˆνƒ€ κ°€λ₯΄λ³΄μ˜ 속 눈썹과 κΈˆλΉ› μ–΄κΈˆλ‹ˆ 등을 가지고 μžˆμ–΄μš”.
05:15
I realized this was an elephant that had
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이 코끼리듀이 μ„Έλ κ²Œν‹° μ΄ˆμ›λ₯Ό
05:17
absolutely nothing to do with a majestic march across the Serengeti.
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거침없이 ν–‰μ§„ν•˜λŠ” λ¬΄λ¦¬λ“€κ³ΌλŠ” μ•„λ¬΄λŸ° 상관이 μ—†λ‹€λŠ” 것을 κΉ¨λ‹¬μ•˜μ£ .
05:23
It was a Dumbo nightmare. (Laughter)
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이건 μ•„κΈ° 코끼리 덀보의 μ•…λͺ½μ΄μ—μš”. (μ›ƒμŒ)
05:28
But something more profound was happening as well.
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ν•˜μ§€λ§Œ λ­”κ°€ 더 μ‹¬μ˜€ν•œ 일이 λ²Œμ–΄μ§€κ³  μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
05:31
These objects, it seemed to me,
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이 μž‘ν’ˆμ€, μ œκ°€ 보기에,
05:33
were quintessentially the kind that I and my liberal left friends in London
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저와 λŸ°λ˜μ— μžˆλŠ” 진보적인 쒌읡 μΉœκ΅¬λ“€μ—κ²Œ
05:37
had always seen as summing up
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늘 18μ„ΈκΈ° ν”„λž‘μŠ€ κ·€μ‘± μ‚¬νšŒμ˜
05:39
something deplorable about the French aristocracy
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κ°œνƒ„μŠ€λŸ¬μ›€μ„ μš”μ•½ν•΄μ„œ
05:42
in the 18th century.
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λ³΄μ—¬μ£ΌλŠ” 것 κ°™μ•˜μŠ΅λ‹ˆλ‹€.
05:44
The label had told me that these pieces were made
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μ΄λ¦„ν‘œμ—λŠ” 이 μ „μ‹œν’ˆμ΄
05:47
by the Sèvres Manufactory,
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μ„ΈλΈŒλ₯΄ μ œμž‘μ†Œμ—μ„œ λ§Œλ“€μ–΄μ§„
05:50
made of porcelain in the late 1750s,
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1750λ…„λŒ€ ν›„λ°˜μ˜ λ„μžμ΄κ³ 
05:53
and designed by a designer called Jean-Claude Duplessis,
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μž₯-λŒλ‘œλ“œ λ’€ν”Œλ ˆμ‹œμŠ€λΌλŠ”,
05:56
actually somebody of extraordinary distinction
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λ‚˜μ€‘μ— μ•Œκ²Œ λ˜κΈ°λ‘œλŠ” νŠΉλ³„ν•œ νŠΉμ§•μ„ 가진
05:58
as I later learned.
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λ””μžμ΄λ„ˆμ˜ μž‘ν’ˆμ΄λΌ μ ν˜€μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
06:01
But for me, they summed up a kind of,
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κ·ΈλŸ¬λ‚˜ μ œκ²ŒλŠ” 이 λͺ¨λ“  것듀이
06:06
that sort of sheer uselessness of the aristocracy
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18μ„ΈκΈ° κ·€μ‘± μ‚¬νšŒκ°€ μ–Όλ§ˆλ‚˜ μ“Έλͺ¨ μ—†μ—ˆλŠ”μ§€λ₯Ό
06:09
in the 18th century.
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μ™„λ²½ν•˜κ²Œ λ³΄μ—¬μ£ΌλŠ” 것 κ°™μ•˜μ£ .
06:13
I and my colleagues had always thought
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저와 제 λ™λ£ŒλŠ” 늘 이런 μž‘ν’ˆλ“€μ€
06:15
that these objects, in way, summed up the idea of,
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ν•œ 가지 μƒκ°μœΌλ‘œ κ·€κ²°λœλ‹€κ³  μƒκ°ν–ˆμ§€μš”.
06:18
you know -- no wonder there was a revolution.
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μ•„μ‹œλ‹€μ‹œν”Ό 혁λͺ…이 μžˆμ—ˆλ‹€λŠ” 것을 μΌκΉ¨μ›Œμ£ΌλŠ” 것이죠.
06:20
Or, indeed, thank God there was a revolution.
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μ•„λ‹ˆλ©΄ 혁λͺ…이 μΌμ–΄λ‚¬λ‹€λŠ” 것을 κ°μ‚¬ν•΄ν•˜λ˜κ°€μš”.
06:25
There was a sort of idea really, that,
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μ‹€μ œλ‘œ λ“œλŠ” ν•œκ°€μ§€ 생각은
06:27
if you owned a vase like this,
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λ§Œμ•½ 이런 항아리λ₯Ό κ°–λŠ”λ‹€λ©΄
06:29
then there was really only one fate possible.
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κ°€λŠ₯ν•œ 운λͺ…은 단 ν•˜λ‚˜λΌλŠ” κ±°μ£ .
06:33
(Laughter)
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(μ›ƒμŒ)
06:37
So, there I was -- in a sort of paroxysm of horror.
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κ·Έλž˜μ„œ μ „ μ†Ÿκ΅¬μΉ˜λŠ” 곡포에 μ‚¬λ‘œμž‘ν˜€ μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
06:42
But I took the job and I went on looking at these vases.
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ν•˜μ§€λ§Œ κ·Έ 일을 λ§‘μ•˜κ³  이런 항아리듀을 계속 보게 λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
06:46
I sort of had to because they're on a through route in the Met.
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그럴 수 밖에 μ—†λ˜ 것이 이런 μž‘ν’ˆλ“€μ΄ λ©”νŠΈλ‘œν΄λ¦¬νƒ„ λ―Έμˆ κ΄€ 곳곳에 μžˆμ—ˆκ±°λ“ μš”.
06:49
So, almost anywhere I went, there they were.
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μ œκ°€ κ°€λŠ” κ³³ μ–΄λ””μ—λ‚˜ μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
06:52
They had this kind of odd sort of fascination,
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κ·Έκ²ƒλ“€μ—κ²ŒλŠ” 마치 μžλ™μ°¨ 사고와 같이
06:55
like a car accident.
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κΈ°μ΄ν•œ λ§€ν˜Ήκ°™μ€ 것이 μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
06:58
Where I couldn't stop looking.
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λ„μ €νžˆ 피해닀닐 수 μ—†κ²Œ λ˜μ—ˆμ£ .
07:00
And as I did so, I started thinking:
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그러자 μ΄λ ‡κ²Œ μƒκ°ν•˜κ²Œ λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
07:03
Well, what are we actually looking at here?
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그래, μ—¬κΈ°μ„œ μ‹€μ œλ‘œ 무엇을 보고 μžˆλŠ”κ±°μ§€?
07:07
And what I started with was understanding this
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κ·Έλ¦¬κ³ μ„œλŠ” 이것을 정말 λ›°μ–΄λ‚œ
07:11
as really a supreme piece of design.
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λ””μžμΈ μž‘ν’ˆμœΌλ‘œ 보기 μ‹œμž‘ν–ˆμŠ΅λ‹ˆλ‹€.
07:14
It took me a little time.
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μ‹œκ°„μ΄ μ’€ κ±Έλ Έμ§€λ§Œ,
07:15
But, that tutu for example --
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예λ₯Ό λ“€μ–΄ 이 발레 μ˜μƒμ„ 보면
07:17
actually, this is a piece that does dance in its own way.
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이 μž‘μ€ 쑰각듀은 λ‚˜λ¦„λŒ€λ‘œ 좀을 μΆ”κ³  μžˆμ–΄μš”.
07:20
It has an extraordinary lightness
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λ†€λžκ²Œλ„ 가볍고
07:21
and yet, it is also amazing balanced.
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κ²Œλ‹€κ°€ κΈ°λ§‰νžˆκ²Œ κ· ν˜•μ΄ μž‘ν˜€μžˆμ§€μš”.
07:24
It has these kinds of sculptural ingredients.
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μ—¬κΈ°μ—λŠ” 이런 μ‹μ˜ μ‘°μ†Œμ  μš”μ†Œκ°€ 있고
07:27
And then the play between --
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맀우 μ„¬μ„Έν•œ 색상과 κΈˆλ„κΈˆ,
07:29
actually really quite carefully disposed color and gilding, and the sculptural surface,
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그리고 쑰각 ν‘œλ©΄ μ‚¬μ΄μ˜ μ‘°ν™”κ°€
07:34
is really rather remarkable.
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μ£Όλͺ©ν•  만 ν•©λ‹ˆλ‹€.
07:36
And then I realized that this piece went into the kiln
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그리고 μ €λŠ” 이 μž‘ν’ˆμ΄ 여기에 λ†“μ΄κΈ°κΉŒμ§€
07:39
four times, at least four times in order to arrive at this.
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λ„€ 번, μ΅œμ†Œν•œ λ„€ 번 κ°€λ§ˆμ—μ„œ κ΅¬μ›Œμ‘Œλ‹€λŠ” 것을 μ•Œκ²Œ λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
07:42
How many moments for accident can you think of
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μ—¬λŸ¬λΆ„ 생각에 이 μž‘ν’ˆμ— μ–Όλ§ˆλ‚˜
07:45
that could have happened to this piece?
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λ§Žμ€ 사고가 일어날 λ»” ν–ˆμ„κΉŒμš”?
07:47
And then remember, not just one, but two.
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λͺ…심할 점은 ν•˜λ‚˜κ°€ μ•„λ‹ˆλΌ 두 κ°œλΌλŠ” μ μž…λ‹ˆλ‹€.
07:49
So he's having to arrive at two exactly matched
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이런 μ’…λ₯˜μ˜ μ •ν™•νžˆ μΌμΉ˜ν•˜λŠ”
07:54
vases of this kind.
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ν•œ 쌍의 항아리λ₯Ό λ§Œλ“€μ–΄λ‚΄μ•Ό ν–ˆμ£ .
07:56
And then this question of uselessness.
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κ·Έλ¦¬κ³ λ‚˜λ‹ˆ μ‹€μš©μ„±μ— λŒ€ν•œ 의문이 λ“­λ‹ˆλ‹€.
07:57
Well actually, the end of the trunks were originally candle holders.
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자, 사싀 코끼리 μ½” 끝은 μ›λž˜ μ΄›λŒ€μ˜€μ–΄μš”.
08:02
So what you would have had were candles on either side.
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μ–‘ 츑면에 초λ₯Ό κ½‚μœΌλ©΄ μ–΄λ–»κ²Œ λ κΉŒμš”.
08:06
Imagine that effect of candlelight on that surface.
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μ΄›λΆˆμ΄ μ € ν‘œλ©΄μ— λ―ΈμΉ˜λŠ” 효과λ₯Ό μƒμƒν•΄λ³΄μ„Έμš”.
08:09
On the slightly uneven pink, on the beautiful gold.
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살짝 κ· μΌν•˜μ§€ μ•Šμ€ 뢄홍색에, μ € μ•„λ¦„λ‹€μš΄ ν™©κΈˆμƒ‰μ— 말이죠.
08:11
It would have glittered in an interior,
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마치 μž‘μ€ λΆˆκ½ƒλ†€μ΄μ²˜λŸΌ
08:14
a little like a little firework.
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λ°© μ•ˆμ—μ„œ 빛났을 κ±°μ—μš”.
08:17
And at that point, actually, a firework went off in my brain.
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μ‹€μ œλ‘œ 이 μ§€μ μ—μ„œ 제 머리 μ†μ—μ„œ λΆˆκ½ƒμ΄ ν„°μ‘Œμ–΄μš”.
08:21
Somebody reminded me that, that word 'fancy' --
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λˆ„κ΅°κ°€ 제게 이 μž‘ν’ˆμ„ ν•œλ§ˆλ””λ‘œ μš”μ•½ν•˜λŠ”,
08:24
which in a sense for me, encapsulated this object --
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'ν™”λ €ν•œ(fancy)'μ΄λž€ 단어λ₯Ό μΌκΉ¨μ›Œμ€¬μŠ΅λ‹ˆλ‹€.
08:27
actually comes from the same root as the word 'fantasy.'
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'ν™˜μƒ(fantasy)'μ΄λž€ 단어와 같은 어원을 가진 λ‹¨μ–΄μ§€μš”.
08:31
And that what this object was just as much in a way,
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이 μž‘ν’ˆμ€ λ°”λ‘œ 그런 μ‹μœΌλ‘œ,
08:34
in its own way, as a Leonardo da Vinci painting,
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μžμ‹ λ§Œμ˜ λ°©μ‹μœΌλ‘œ, λ ˆμ˜€λ‚˜λ₯΄λ„ λ‹€ 빈치의 그림이 그랬던 κ²ƒμ²˜λŸΌ
08:36
is a portal to somewhere else.
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λ‹€λ₯Έ 곳으둜 ν†΅ν•˜λŠ” λ¬Έμ΄μ—ˆμŠ΅λ‹ˆλ‹€.
08:38
This is an object of the imagination.
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이것은 μƒμƒμ˜ μž‘ν’ˆμž…λ‹ˆλ‹€.
08:42
If you think about the mad 18th-century operas of the time -- set in the Orient.
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동양을 λ¬΄λŒ€λ‘œ ν•œ 18μ„ΈκΈ° 였페라λ₯Ό 생각해본닀면,
08:49
If you think about divans and perhaps even opium-induced visions of pink elephants,
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κΈ΄ μ˜μžμ™€ μ–΄μ©Œλ©΄ ν™˜κ° μƒνƒœμ—μ„œ 뢄홍색 코끼리λ₯Ό λ– μ˜¬λ €λ³Έλ‹€λ©΄,
08:56
then at that point, this object starts to make sense.
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λ°”λ‘œ κ·Έ μ§€μ μ—μ„œ 이 μž‘ν’ˆμ„ 이해할 수 μžˆμŠ΅λ‹ˆλ‹€.
08:59
This is an object which is all about escapism.
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이것은 ν˜„μ‹€ 도피에 λŒ€ν•œ μž‘ν’ˆμ΄μ—μš”.
09:03
It's about an escapism that happens --
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이것은 ν”„λž‘μŠ€μ˜ κ·€μ‘± μ‚¬νšŒκ°€
09:06
that the aristocracy in France sought
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μ•„μ£Ό κ³„νšμ μœΌλ‘œ
09:08
very deliberately
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보톡 μ‚¬λžŒλ“€κ³Ό κ΅¬λ³„ν•˜κΈ° μœ„ν•΄
09:10
to distinguish themselves from ordinary people.
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μΆ”κ΅¬ν•œ ν˜„μ‹€ 도피에 λŒ€ν•œ κ²ƒμ΄μ—μš”.
09:15
It's not an escapism that
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κ·ΈλŸ¬λ‚˜ 그것은 μ˜€λŠ˜λ‚  νŠΉλ³„νžˆ 행볡을 λŠλΌλŠ”
09:17
we feel particularly happy with today, however.
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ν˜„μ‹€ 도피가 μ•„λ‹™λ‹ˆλ‹€.
09:20
And again, going on thinking about this,
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그리고 λ‹€μ‹œ 생각해보면
09:23
I realize that in a way we're all victims
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κ·ΌλŒ€μ£Όμ˜κ°€ μŠΉλ¦¬ν•œ λ’€
09:27
of a certain kind of tyranny
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μš°λ¦¬λŠ” λͺ¨λ‘ 그런 νš‘ν¬μ— μ‹œλ‹¬λ¦¬λŠ”
09:29
of the triumph of modernism
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ν¬μƒμžλ“€μ΄λΌλŠ” 것을 μΈμ‹ν–ˆμŠ΅λ‹ˆλ‹€.
09:31
whereby form and function in an object
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ν•œ 물체의 ν˜•νƒœμ™€ κΈ°λŠ₯이
09:33
have to follow one another, or are deemed to do so.
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μ„œλ‘œλ₯Ό λ”°λ₯΄κ±°λ‚˜ ν˜Ήμ€ κ·Έλ ‡κ²Œ ν•΄μ•Ό λ˜λŠ” κ²ƒμœΌλ‘œ μ—¬κΈ°κ³ 
09:37
And the extraneous ornament is seen as really,
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μ™ΈλΆ€μ˜ μž₯식은 μ‹€μ œλ‘œ, 본질적으둜
09:40
essentially, criminal.
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범죄와도 같이 μ—¬κ²¨μ§€λŠ” 폭정 λ§μž…λ‹ˆλ‹€.
09:43
It's a triumph, in a way, of bourgeois values rather than aristocratic ones.
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이것은 μ–΄λ–€ λ©΄μ—μ„œ 귀쑱측보닀 쀑산측 κ°€μΉ˜μ˜ μŠΉλ¦¬μž…λ‹ˆλ‹€.
09:46
And that seems fine.
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μ’‹μ•„λ³΄μ΄λ„€μš”.
09:48
Except for the fact that it becomes a kind of sequestration of imagination.
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λ‹€λ§Œ 점차 상상λ ₯을 μΆ”λ°©ν•˜λŠ” κ²ƒμ²˜λŸΌ λ˜μ–΄λ²„λ Έλ‹€λŠ” 점을 μ œμ™Έν•˜λ©΄ 말이죠.
09:55
So just as in the 20th century, so many people
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20μ„ΈκΈ°μ²˜λŸΌ 정말 λ§Žμ€ μ‚¬λžŒλ“€μ΄
09:58
had the idea that their faith
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κ·Έλ“€μ˜ λ―ΏμŒμ€ μ•ˆμ‹μΌμ—
10:00
took place on the Sabbath day,
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μΌμ–΄λ‚œλ‹€λŠ” 생각을 κ°€μ‘Œκ³ 
10:03
and the rest of their lives --
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λ‚˜λ¨Έμ§€ 삢은
10:04
their lives of washing machines and orthodontics --
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λΉ¨λž˜μ™€ μΉ˜μ•„κ΅μ •μ˜ 삢은
10:08
took place on another day.
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λ‹€λ₯Έ 날에 μΌμ–΄λ‚˜λŠ” κ²ƒμ΄μ—ˆμ£ .
10:10
Then, I think we've started doing the same.
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μš°λ¦¬λ„ λ˜‘κ°™μ΄ ν•˜κΈ° μ‹œμž‘ν–ˆλ‹€κ³  μƒκ°ν•©λ‹ˆλ‹€.
10:14
We've allowed ourselves to
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μš°λ¦¬λŠ” 우리의 ν™˜μƒμ μΈ 삢을
10:17
lead our fantasy lives in front of screens.
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ν™”λ©΄ μ•žμ— 두도둝 λ‚΄λ²„λ €λ‘μ—ˆμ£ .
10:19
In the dark of the cinema, with the television in the corner of the room.
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μ–΄λ‘μš΄ μ˜ν™”κ΄€μ΄λ‚˜ λ°© ꡬ석에 μžˆλŠ” TV μ•žμ—μš”.
10:23
We've eliminated, in a sense, that constant
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μ–΄λ–€ μ˜λ―Έμ—μ„œ μš°λ¦¬λŠ” 이 항아리가 λ“œλŸ¬λ‚΄λŠ”
10:27
of the imagination that these vases represented in people's lives.
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μ‚¬λžŒλ“€μ˜ 삢이 가진 상상λ ₯의 μ •μˆ˜λ₯Ό μ œκ±°ν•΄λ²„λ¦¬κ³  λ§μ•˜μŠ΅λ‹ˆλ‹€.
10:32
So maybe it's time we got this back a little.
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κ·Έλž˜μ„œ 이것을 살짝 돌이켜 λ³Ό μ‹œμ μΈ 것 κ°™μ•„μš”.
10:36
I think it's beginning to happen.
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κ·Έ 일이 곧 일어날 거라고 μƒκ°ν•©λ‹ˆλ‹€.
10:39
In London, for example,
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예λ₯Ό λ“€μ–΄ λŸ°λ˜μ—μ„œ
10:40
with these extraordinary buildings
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이런 νŠΉλ³„ν•œ 건물듀이
10:42
that have been appearing over the last few years.
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μ§€λ‚œ λͺ‡ λ…„ κ°„ λ‚˜νƒ€λ‚˜κ³  μžˆμŠ΅λ‹ˆλ‹€.
10:45
Redolent, in a sense, of science fiction,
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곡상 κ³Όν•™μ˜ ν–₯κΈ°λ‘œμ›€μ΄
10:48
turning London into a kind of fantasy playground.
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λŸ°λ˜μ„ μΌμ’…μ˜ ν™˜μƒμ  놀이 κ³΅μ›μœΌλ‘œ λ°”κΎΈμ—ˆμ§€μš”.
10:50
It's actually amazing to look out of a high building nowadays there.
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μ˜€λŠ˜λ‚  그곳의 κ³ μΈ΅ 건물듀을 λ³΄λŠ” 것은 정말 λ†€λžμŠ΅λ‹ˆλ‹€.
10:55
But even then, there's a resistance.
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κ·ΈλŸ¬λ‚˜ 거기에도 저항은 μžˆμŠ΅λ‹ˆλ‹€.
10:56
London has called these buildings the Gherkin, the Shard, the Walkie Talkie --
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λŸ°λ˜μ—μ„œλŠ” κ·Έ 건물듀을 였이, λΉ„λŠ˜λ”±μ§€, 무전기 λ“±μœΌλ‘œ λΆ€λ₯΄λ©°
11:01
bringing these soaring buildings down to Earth.
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μ΄λ ‡κ²Œ μΉ˜μ†Ÿμ€ 건물듀을 λ°”λ‹₯으둜 λŒμ–΄λ‚΄λ¦¬λ € ν•©λ‹ˆλ‹€.
11:04
There's an idea that we don't want these
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κ±°κΈ°μ—λŠ” 이런 λΆˆμ•ˆκ°μ„ μ‘°μ„±ν•˜κ³  상상λ ₯을 μžκ·Ήν•˜λŠ” 여행이
11:08
anxious-making, imaginative journeys to happen in our daily lives.
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우리 일상에 λ²Œμ–΄μ§€κΈΈ μ›ν•˜μ§€ μ•ŠλŠ”λ‹€λŠ” 생각이 κΉ”λ €μžˆμŠ΅λ‹ˆλ‹€.
11:13
I feel lucky in a way,
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ν•œνŽΈ μ €λŠ” 운이 μ’‹λ‹€κ³  μƒκ°ν•΄μš”.
11:16
I've encountered this object.
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이 μž‘ν’ˆμ„ λ§Œλ‚¬μœΌλ‹ˆκΉŒμš”.
11:19
(Laughter)
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(μ›ƒμŒ)
11:21
I found him on the Internet when I was looking up a reference.
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μ°Έκ³  자료λ₯Ό μ°ΎκΈ° μœ„ν•΄ 인터넷을 뒀지닀 이걸 μ°Ύμ•„λƒˆμ§€μš”.
11:24
And there he was.
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μ—¬κΈ° κ·Έκ°€ μžˆμŠ΅λ‹ˆλ‹€.
11:27
And unlike the pink elephant vase,
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그리고 뢄홍색 코끼리 ν•­μ•„λ¦¬μ™€λŠ” λ‹€λ₯΄κ²Œ
11:31
this was a kind of love at first sight.
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μ²«λˆˆμ— μ‚¬λž‘μ— λΉ μ‘Œμ§€μš”.
11:33
In fact, reader, I married him. I bought him.
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사싀, λ…μžλ‘œμ¨ μ €λŠ” 그와 μ‚¬λž‘μ— λΉ μ‘Œμ–΄μš”. κ·Έλ₯Ό μƒ€μ§€μš”.
11:36
And he now adorns my office.
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μ§€κΈˆ 제 사무싀을 μž₯μ‹ν•˜κ³  μžˆμŠ΅λ‹ˆλ‹€.
11:39
He's a Staffordshire figure made in the middle of the 19th century.
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κ·ΈλŠ” μŠ€νƒœν¬λ“œμ…”μ˜ 쑰각으둜 19μ„ΈκΈ° μ€‘λ°˜μ˜ μž‘ν’ˆμž…λ‹ˆλ‹€.
11:43
He represents the actor, Edmund Kean, playing Shakespeare's Richard III.
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κ·ΈλŠ” μ…°μ΅μŠ€ν”Όμ–΄μ˜ λ¦¬μ²˜λ“œ 3μ„Έλ₯Ό μ—°κΈ°ν–ˆλ˜ μ—λ“œλ¬Έλ“œ ν‚¨μž…λ‹ˆλ‹€.
11:48
And it's based, actually, on a more elevated piece of porcelain.
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그리고 이건 사싀 보닀 ν–₯μƒλœ μˆ˜μ€€μ˜ μžκΈ°μ΄μ§€μš”.
11:50
So I loved, on an art historical level,
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κ·Έλž˜μ„œ μ „ κ·Έκ°€ λ§Œλ“  μž‘ν’ˆμ„ μ˜ˆμˆ μ‚¬μ μΈ μˆ˜μ€€μ—μ„œ μ’‹μ•„ν–ˆκ³ 
11:52
I loved that layered quality that he has.
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κ·Έ ν‘œλ©΄μΈ΅μ˜ ν’ˆκ²©μ„ μ’‹μ•„ν–ˆμŠ΅λ‹ˆλ‹€.
11:57
But more than that, I love him.
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ν•˜μ§€λ§Œ κ·Έ μ΄μƒμœΌλ‘œ μ €λŠ” κ·Έλ₯Ό μ’‹μ•„ν–ˆμŠ΅λ‹ˆλ‹€.
12:00
In a way that I think would have been impossible
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μ œκ°€ λ‹€λΉˆμΉ˜μ— λΉ μ Έμžˆμ—ˆλ˜ μ‹œκΈ°μ˜
12:01
without the pink Sèvres vase in my Leonardo days.
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뢄홍색 μ„ΈλΈŒλ₯΄ λ„μžκΈ°κ°€ μ•„λ‹ˆμ—ˆλ”λΌλ©΄ λΆˆκ°€λŠ₯ν–ˆμ„ λ°©μ‹μœΌλ‘œ 말이죠.
12:04
I love his orange and pink breeches.
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μ €λŠ” 그의 주황색과 λΆ„ν™μƒ‰μ˜ ν•˜λ‹¨λΆ€λ₯Ό μ’‹μ•„ν•©λ‹ˆλ‹€.
12:07
I love the fact that he seems to be going off to war,
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κ·Έκ°€ 이제 막 μ”»κ³ λ‚˜μ„œ μ „μŸμ— λ‚˜κ°ˆ κ²ƒμ²˜λŸΌ
12:10
having just finished the washing up. (Laughter)
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λ³΄μ΄λŠ” 것도 μ’‹μ•„ν•©λ‹ˆλ‹€.. (μ›ƒμŒ)
12:14
He seems also to have forgotten his sword.
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검을 κ°€μ Έκ°€λŠ” 것도 μžŠμ€ 것 κ°™μ•„μš”.
12:17
I love his pink little cheeks, his munchkin energy.
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λΆ„ν™μƒ‰μ˜ μž‘μ€ λΊ¨, 그의 κ·€μ—¬μš΄ μ—λ„ˆμ§€λ₯Ό μ’‹μ•„ν•©λ‹ˆλ‹€.
12:19
In a way, he's become my sort of alter ego.
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μ–΄λ–€ λ©΄μ—μ„œ κ·ΈλŠ” μΌμ’…μ˜ 제 뢄신이 λ˜μ—ˆμ–΄μš”.
12:22
He's, I hope, a little bit dignified,
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μ €λŠ” κ·Έκ°€ μ’€ ν’ˆμœ„κ°€ 있기λ₯Ό μ›ν–ˆμ§€λ§Œ
12:25
but mostly rather vulgar. (Laughter)
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사싀 μ’€ μ €μ†ν•œ νŽΈμ΄μ—μš”. (μ›ƒμŒ)
12:30
And energetic, I hope, too.
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그리고 또 μ—λ„ˆμ§€κ°€ λ„˜μΉ˜κΈ°λ₯Ό μ›ν–ˆμ£ .
12:33
I let him into my life because the Sèvres pink elephant vase allowed me to do so.
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뢄홍색 코끼리 μ„ΈλΈŒλ₯΄ 항아리가 제게 κ·Έλž¬λ“―μ΄ κ·Έλ₯Ό 제 삢에 λ“€μ–΄μ˜€κ²Œ ν–ˆμ–΄μš”.
12:38
And before that Leonardo,
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그리고 λ‹€λΉˆμΉ˜ 이전에,
12:40
I understood that this object could become part of a journey for me every day,
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이 μž‘ν’ˆμ΄ 제 일상적 μ—¬μ •μ˜ ν•œ 뢀뢄이 될 수 μžˆλ‹€λŠ” 것을 μ•Œκ²Œ λ˜μ—ˆμ–΄μš”.
12:45
sitting in my office.
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제 사무싀 ν•œ μΌ μ—μ„œμš”.
12:48
I really hope that others, all of you,
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μ €λŠ” λ‹€λ₯Έ 뢄듀이, μ—¬λŸ¬λΆ„ λͺ¨λ‘κ°€
12:51
visiting objects in the museum,
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λ―Έμˆ κ΄€μ— μžˆλŠ” μž‘ν’ˆλ“€μ„ 보고
12:52
and taking them home and finding them for yourselves,
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μ§‘μœΌλ‘œ 가지고 κ°€μ„œ μ—¬λŸ¬λΆ„λ“€ 슀슀둜 그런 것듀을 λ°œκ²¬ν•œλ‹€λ©΄
12:55
will allow those objects to flourish in your imaginative lives.
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이 μž‘ν’ˆλ“€μ΄ μ—¬λŸ¬λΆ„μ˜ 상상λ ₯μžˆλŠ” 삢을 ν’μš”λ‘­κ²Œ ν•΄μ€„κ²λ‹ˆλ‹€.
12:59
Thank you very much.
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맀우 κ³ λ§™μŠ΅λ‹ˆλ‹€.
13:01
(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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