The unheard story behind the Sistine Chapel | Elizabeth Lev

Prevodilac: Ivana Krivokuća Lektor: Tijana Mihajlović

Imagine you're in Rome,

Zamislite da ste u Rimu

and you've made your way to the Vatican Museums.

i prispeli ste do Vatikanskih muzeja.

And you've been shuffling down long corridors,

Vukli ste se kroz dugačke hodnike,

past statues, frescoes, lots and lots of stuff.

pored statua, fresaka i mnogih drugih stvari.

You're heading towards the Sistine Chapel.

Uputili ste se ka Sikstinskoj kapeli.

At last -- a long corridor, a stair and a door.

Konačno - dugačak hodnik, stepenik i vrata.

You're at the threshold of the Sistine Chapel.

Nalazite se na pragu Sikstinske kapele.

So what are you expecting?

Pa, šta očekujete?

Soaring domes? Choirs of angels?

Uzdignute zvonike? Horove anđela?

We don't really have any of that there.

Nemamo ništa od toga tamo.

Instead, you may ask yourself, what do we have?

Umesto toga, možda se pitate, šta imamo?

Well, curtains up on the Sistine Chapel.

Pa, zavese preko Sikstinske kapele.

And I mean literally, you're surrounded by painted curtains,

Mislim, bukvalno ste okruženi oslikanim zavesama,

the original decoration of this chapel.

originalnim ukrasima ove kapele.

Churches used tapestries not just to keep out cold during long masses,

Crkve su koristile tapiserije

ne samo radi zaštite od hladnoće tokom dugih službi,

but as a way to represent the great theater of life.

već i kao način predstavljanja velikog pozorišta života.

The human drama in which each one of us plays a part is a great story,

Ljudska drama u kojoj svako od nas igra ulogu

predstavlja veliku priču, priču koja obuhvata ceo svet

a story that encompasses the whole world

and that came to unfold in the three stages

i koja se razotkriva u tri nivoa

of the painting in the Sistine Chapel.

na oslikanoj površini Sikstinske kapele.

Now, this building started out as a space for a small group

Ova zgrada je započeta kao prostor za malu grupu bogatih,

of wealthy, educated Christian priests.

obrazovanih hrišćanskih sveštenika.

They prayed there. They elected their pope there.

Tu su se molili. Tu su odabirali papu.

Five hundred years ago,

Pre petsto godina,

it was the ultimate ecclesiastical man cave.

bilo je to vrhunsko utočište za sveštenike.

So, you may ask, how can it be that today it attracts and delights

Pa, možda se pitate, kako to da danas privlači i očarava

five million people a year,

pet miliona ljudi godišnje,

from all different backgrounds?

sasvim različitog porekla?

Because in that compressed space, there was a creative explosion,

Zato što se u tom sabijenom prostoru odvijala kreativna eksplozija,

ignited by the electric excitement of new geopolitical frontiers,

podstaknuta intenzivnim uzbuđenjem zbog novih geopolitičkih granica,

which set on fire the ancient missionary tradition of the Church

što je zapalilo drevnu misionarsku tradiciju Crkve

and produced one of the greatest works of art in history.

i stvorilo jedno od najvećih dela u istoriji umetnosti.

Now, this development took place as a great evolution,

Ovaj razvoj se odigrao kao velika evolucija,

moving from the beginning of a few elite,

napravivši pomak od svog početka, od nekolicine pripadnika elite

and eventually able to speak to audiences of people

da bi najzad mogao da se obrati čitavoj publici ljudi

that come from all over the world.

koja pristiže iz svih krajeva sveta.

This evolution took place in three stages,

Ovaj razvoj se odigrao u tri faze,

each one linked to a historical circumstance.

od kojih je svaka vezana za istorijske okolnosti.

The first one was rather limited in scope.

Prva je bila prilično ograničenog dometa.

It reflected the rather parochial perspective.

Odražavala je perspektivu koja je bila prilično palanačka.

The second one took place after worldviews were dramatically altered

Druga se desila nakon dramatičnih izmena u pogledima na svet

after Columbus's historical voyage;

po Kolumbovom istorijskom putovanju;

and the third,

a treća,

when the Age of Discovery was well under way

kada je uveliko bilo u toku razdoblje velikih geografskih otkrića,

and the Church rose to the challenge

a crkva je bila dorasla izazovu da postane globalna.

of going global.

The original decoration of this church reflected a smaller world.

Prvobitni ukrasi u ovoj crkvi odražavali su manji svet.

There were busy scenes

Tu su bile užurbane scene

that told the stories of the lives of Jesus and Moses,

koje su iznosile priče o životu Isusa i Mojsija,

reflecting the development of the Jewish and Christian people.

prikazujući razvoj jevrejskog i hrišćanskog naroda.

The man who commissioned this, Pope Sixtus IV,

Čovek koji je ovo naručio, Papa Sikst IV,

assembled a dream team of Florentine art,

okupio je tim snova firentinske umetnosti,

including men like Sandro Botticelli

uključujući ljude kao što je Sandro Botičeli

and the man who would become Michelangelo's future painting teacher,

i čovek koji će kasnije postati Mikelanđelov učitelj slikanja,

Ghirlandaio.

Girlandajo.

These men, they blanketed the walls with a frieze of pure color,

Ti ljudi su prekrili zidove frizom čistih boja,

and in these stories you'll notice familiar landscapes,

a u tim pričama ćete primetiti poznate pejzaže.

the artists using Roman monuments or a Tuscan landscape

Umetnici su koristili rimske spomenike ili pejzaže Toskane

to render a faraway story, something much more familiar.

da bi prizvale daleku priču, nešto mnogo poznatije.

With the addition of images of the Pope's friends and family,

Uz dodate slike papinih prijatelja i porodice,

this was a perfect decoration for a small court

ovo je bila savršena dekoracija za malu palatu

limited to the European continent.

ograničenu samo na evropski kontinent.

But in 1492, the New World was discovered,

Međutim, 1492. godine otkriven je Novi svet

horizons were expanding,

i širili su se vidici,

and this little 133 by 46-foot microcosm had to expand as well.

pa je i ovaj mikrokosmos od 40 sa 14 metara morao da se proširi.

And it did,

I jeste,

thanks to a creative genius,

zahvaljujući kreativnom geniju,

a visionary and an awesome story.

vizionaru i sjajnoj priči.

Now, the creative genius was Michelangelo Buonarroti,

Kreativni genije je bio Mikelanđelo Buonaroti,

33 years old when he was tapped to decorate 12,000 square feet of ceiling,

koji je imao 33 godine kada su ga izabrali

da ukrasi tavanicu površine 1 115 kvadratnih metara,

and the deck was stacked against him --

i stvari mu nisu išle na ruku - obučio se da bude slikar,

he had trained in painting but had left to pursue sculpture.

ali je to napustio da bi se bavio skulpturom.

There were angry patrons in Florence because he had left a stack

Bilo je ljutih mecena u Firenci jer je ostavio gomilu

of incomplete commissions,

nezavršenih narudžbina,

lured to Rome by the prospect of a great sculptural project,

jer ga je u Rim namamila mogućnost velikog skulptorskog projekta,

and that project had fallen through.

a taj projekat je propao.

And he had been left with a commission to paint 12 apostles

Ostala mu je narudžbina da naslika 12 apostola

against a decorative background in the Sistine Chapel ceiling,

na ukrasnoj pozadini tavanice Sikstinske kapele,

which would look like every other ceiling in Italy.

koja bi izgledala kao bilo koja druga tavanica u Italiji.

But genius rose to the challenge.

Ipak, genije je bio dorastao izazovu.

In an age when a man dared to sail across the Atlantic Ocean,

U doba kada se čovek usudio da plovi Atlantskim okeanom,

Michelangelo dared to chart new artistic waters.

Mikelanđelo se usudio da krstari novim umetičkim vodama.

He, too, would tell a story --

On će, takođe, ispričati priču -

no Apostles -- but a story of great beginnings,

ne o apostolima, već o velikim počecima,

the story of Genesis.

priču o postanju.

Not really an easy sell, stories on a ceiling.

Ne prolaze baš tako lako te priče na tavanici.

How would you be able to read a busy scene from 62 feet below?

Kako biste mogli da razaznate užurbanu scenu 19 metara ispod nje?

The painting technique that had been handed on for 200 years

Slikarska tehnika koja se tokom 200 godina prenosila

in Florentine studios was not equipped for this kind of a narrative.

u firentinskim ateljeima nije bila spremna za ovakvu vrstu priče.

But Michelangelo wasn't really a painter,

No, Mikelanđelo nije stvarno bio slikar,

and so he played to his strengths.

pa je radio šta je mogao.

Instead of being accustomed to filling space with busyness,

Umesto uobičajenog popunjavanja prostora užurbanošću,

he took a hammer and chisel and hacked away at a piece of marble

uzeo je čekić i dleto i odlomio delić mermera

to reveal the figure within.

da bi pokazao figuru unutra.

Michelangelo was an essentialist;

Mikelanđelo je bio esencijalist;

he would tell his story in massive, dynamic bodies.

pričao je svoju priču kroz snažna, dinamična tela.

This plan was embraced by the larger-than-life Pope Julius II,

Taj plan je prihvatio upečatljivi papa Julije II,

a man who was unafraid of Michelangelo's brazen genius.

čovek koji nije zazirao od Mikelanđelove smele genijalnosti.

He was nephew to Pope Sixtus IV,

Bio je bratanac pape Siksta IV,

and he had been steeped in art for 30 years and he knew its power.

bio je prisutan u umetnosti 30 godina i bio je svestan njene moći.

And history has handed down the moniker of the Warrior Pope,

Istorija mu je nadenula nadimak pape ratnika,

but this man's legacy to the Vatican -- it wasn't fortresses and artillery,

ali zaveštanje ovog čoveka Vatikanu - to nisu tvrđave i artiljerija,

it was art.

već umetnost.

He left us the Raphael Rooms, the Sistine Chapel.

Ostavio nam je Rafaelove sobe, Sikstinsku kapelu.

He left St. Peter's Basilica

Ostavio je Baziliku sv. Petra,

as well as an extraordinary collection of Greco-Roman sculptures --

kao i izvanrednu zbirku grčko-rimskih skulptura -

decidedly un-Christian works that would become the seedbed

izrazito nehrišćanske radove, koja će postati kolevka

of the world's first modern museum, the Vatican Museums.

prvog svetskog modernog muzeja, Vatikanskih muzeja.

Julius was a man

Julije je bio čovek

who envisioned a Vatican that would be eternally relevant

koji je predviđao da će Vatikan biti večno od značaja

through grandeur and through beauty,

kroz raskoš i lepotu

and he was right.

i bio je u pravu.

The encounter between these two giants, Michelangelo and Julius II,

Susret između ove dve veličine, Mikelanđela i Julija II -

that's what gave us the Sistine Chapel.

to je ono što nam je omogućilo da imamo Sikstinsku kapelu.

Michelangelo was so committed to this project,

Mikelanđelo je bio toliko posvećen projektu

that he succeeded in getting the job done in three and a half years,

da je uspeo da završi posao za tri i po godine,

using a skeleton crew and spending most of the time, hours on end,

uz minimum pomoćnika i provodeći većinu vremena, nekoliko sati bez prekida,

reaching up above his head to paint the stories on the ceiling.

dosežući iznad svoje glave da bi naslikao priče na tavanici.

So let's look at this ceiling

Hajde da pogledamo ovu tavanicu

and see storytelling gone global.

i vidimo kako pripovedanje postaje globalno.

No more familiar artistic references to the world around you.

Nema više poznatih umetničkih aluzija na svet oko nas.

There's just space and structure and energy;

Postoji samo prostor, struktura i energija;

a monumental painted framework which opens onto nine panels,

monumentalni oslikani okvir koji sadrži devet segmenata,

more driven by sculptural form than painterly color.

pod većim uticajem skulpturalnog oblika nego slikarske boje.

And we stand in the far end by the entrance,

Stojimo na samom kraju pokraj ulaza,

far from the altar and from the gated enclosure intended for the clergy

daleko od oltara i ograđenog prostora predviđenog za sveštenike,

and we peer into the distance, looking for a beginning.

zagledani u daljinu, tragajući za početkom.

And whether in scientific inquiry or in biblical tradition,

Bilo da su u pitanju okviri naučne potrage ili biblijske tradicije,

we think in terms of a primal spark.

naša razmišljanja su vezana za iskonsku iskru.

Michelangelo gave us an initial energy

Mikelanđelo nam je dao početnu energiju

when he gave us the separation of light and dark,

kada nam je dao razdvajanje svetlosti i tame,

a churning figure blurry in the distance,

uzburkane mutne figure u daljini,

compressed into a tight space.

zbijene na uskom prostoru.

The next figure looms larger,

Sledeća figura se nazire kao veća

and you see a figure hurtling from one side to the next.

i vidite figuru koja juri sa jedne strane na drugu.

He leaves in his wake the sun, the moon, vegetation.

Ostavlja za sobom sunce, mesec, rastinje.

Michelangelo didn't focus on the stuff that was being created,

Mikelanđelo nije bio fokusiran na stvari koje su stvarane,

unlike all the other artists.

za razliku od drugih umetnika.

He focused on the act of creation.

Bio je usredsređen na čin stvaranja.

And then the movement stops, like a caesura in poetry

A zatim pokret prestaje, kao cezura u poeziji

i Stvoritelj lebdi u vazduhu.

and the creator hovers.

So what's he doing?

Šta to radi?

Is he creating land? Is he creating sea?

Da li stvara zemlju? Da li stvara more?

Or is he looking back over his handiwork, the universe and his treasures,

Ili sagledava delo svojih ruku, univerzum i njegova blaga,

just like Michelangelo must have,

baš kao što je to verovatno činio i Mikelanđelo,

looking back over his work in the ceiling

pogledavši svoje delo na tavanici

and proclaiming, "It is good."

i dajući na znanje: „Dobro je.“

So now the scene is set,

Scena je sada postavljena

and you get to the culmination of creation, which is man.

i stižete do kulminacije stvaranja, a to je čovek.

Adam leaps to the eye, a light figure against a dark background.

Adam upada u oči, svetla figura na tamnoj pozadini.

But looking closer,

Međutim, ako pogledamo bliže,

that leg is pretty languid on the ground,

noga na zemlji je prilično militava,

the arm is heavy on the knee.

ruka naleže svojom težinom na koleno.

Adam lacks that interior spark

Adamu nedostaje ta unutrašnja iskra

that will impel him to greatness.

koja će ga povući u visine.

That spark is about to be conferred by the creator in that finger,

Tu iskru će mu upravo predati Stvoritelj kroz taj prst,

which is one millimeter from the hand of Adam.

koji se nalazi na milimetar od Adamove ruke.

It puts us at the edge of our seats,

To nas dovodi u stanje napetosti,

because we're one moment from that contact,

jer se nalazimo na trenutak od tog kontakta,

through which that man will discover his purpose,

kroz koji će taj čovek otkriti svoju svrhu,

leap up and take his place at the pinnacle of creation.

poskočiti i zauzeti svoje mesto na samom vrhuncu stvaranja.

And then Michelangelo threw a curveball.

Zatim Mikelanđelo unosi iznenađenje.

Who is in that other arm?

Ko je u toj drugoj ruci?

Eve, first woman.

Eva, prva žena.

No, she's not an afterthought. She's part of the plan.

Ne, ona nije naknadno smišljena. Ona je deo plana.

Oduvek mu je bila na umu.

She's always been in his mind.

Look at her, so intimate with God that her hand curls around his arm.

Pogledajte je, tako prisna sa Bogom da se njena šaka uvija oko njegove ruke.

And for me, an American art historian from the 21st century,

Za mene, američkog istoričara umetnosti iz 21. veka, ovo je bio trenutak

this was the moment that the painting spoke to me.

kada mi se slika obratila,

Because I realized that this representation of the human drama

jer sam shvatila da je ovaj prikaz ljudske drame

was always about men and women --

oduvek bio vezan za muškarca i ženu -

so much so, that the dead center, the heart of the ceiling,

u toj meri da je u mrtvoj tački, u središtu tavanice,

is the creation of woman, not Adam.

stvaranje žene, ne Adama.

And the fact is, that when you see them together in the Garden of Eden,

Zapravo, kada ih vidite zajedno u rajskom vrtu,

they fall together

zajednički padaju

and together their proud posture turns into folded shame.

i zajednički njihovo ponosno držanje postaje pognuti sram.

You are at critical juncture now in the ceiling.

Sada se nalazite na kritičnoj tački tavanice.

You are exactly at the point where you and I can go

Upravo ste na mestu na kome vi i ja ne možemo

no further into the church.

dalje ići kroz crkvu.

The gated enclosure keeps us out of the inner sanctum,

Ograđeni prostor nas drži podalje od unutrašnjeg svetilišta

and we are cast out much like Adam and Eve.

i prognani smo poput Adama i Eve.

The remaining scenes in the ceiling,

Preostale scene na tavanici

they mirror the crowded chaos of the world around us.

oslikavaju gusti haos sveta oko nas.

You have Noah and his Ark and the flood.

Imate Noja, njegovu barku i poplavu.

You have Noah. He's making a sacrifice and a covenant with God.

Imate Noja. On prinosi žrtvu i ispunjava zavet dat bogu.

Maybe he's the savior.

Možda je spasitelj.

Oh, but no, Noah is the one who grew grapes, invented wine,

O, ali ne, Noje je onaj koji je uzgajao grožđe, izmislio vino,

got drunk and passed out naked in his barn.

napio se i onesvestio se go u svojoj štali.

It is a curious way to design the ceiling,

Zanimljiv način za uređivanje tavanice,

now starting out with God creating life,

počevši sa bogom koji stvara život,

ending up with some guy blind drunk in a barn.

završivši sa nekim tipom mrtvim pijanim u štali.

And so, compared with Adam,

Stoga, u poređenju sa Adamom,

you might think Michelangelo is making fun of us.

možda biste pomislili da nas Mikelanđelo ismeva.

But he's about to dispel the gloom

Međutim, ubrzo zatim će oterati mračno raspoloženja

by using those bright colors right underneath Noah:

upotrebivši jarke boje upravo ispod Noja:

emerald, topaz, scarlet on the prophet Zechariah.

smaragdnu, zlatno žutu i grimiznu na proroku Zahariji.

Zechariah foresees a light coming from the east,

Zaharija predviđa da će svetlo doći sa istoka

and we are turned at this juncture to a new destination,

i na toj prekretnici smo usmereni ka novom odredištu,

with sibyls and prophets who will lead us on a parade.

sa prorocima i proročicama koji nas vode na paradu.

You have the heroes and heroines who make safe the way,

Imate heroje i heroine koji pružaju sigurnost

and we follow the mothers and fathers.

i sledimo majke i očeve.

They are the motors of this great human engine, driving it forward.

Oni su pokretači ovog velikog ustrojstva ljudi,

oni koji ga vode napred.

And now we're at the keystone of the ceiling,

Sada smo na glavnoj tački tavanice,

the culmination of the whole thing,

vrhuncu svega ovoga,

with a figure that looks like he's about to fall out of his space

sa figurom koja izgleda kao da će pasti iz svog prostora

into our space,

u naš prostor,

zadirući u naš prostor.

encroaching our space.

This is the most important juncture.

Ovo je najvažniji trenutak.

Past meets present.

Prošlost se susreće sa sadašnjošću.

This figure, Jonah, who spent three days in the belly of the whale,

Ova figura Jone, koji je proveo tri dana u utrobi kita,

za hrišćane predstavlja simbol preporoda čovečanstva

for the Christians, is the symbol of the renewal of humanity

through Jesus' sacrifice,

kroz Isusovu žrtvu,

ali za mnoštvo posetilaca ovom muzeju

but for the multitudes of visitors to that museum

from all faiths who visit there every day,

raznih vera koji ga svakodnevno obilaze,

he is the moment the distant past encounters and meets immediate reality.

on je tačka u kojoj daleka prošlost sreće neposrednu stvarnost.

All of this brings us to the yawning archway of the altar wall,

Sve ovo nas vodi do zapanjujućeg zasvođenog prolaza oltarskog zida,

where we see Michelangelo's Last Judgment,

gde vidimo Mikelanđelov Strašni sud,

painted in 1534 after the world had changed again.

naslikan 1534. godine, nakon što se svet ponovo promenio.

The Reformation had splintered the Church,

Reformacija je dovela do rascepa Crkve,

the Ottoman Empire had made Islam a household word

zbog Osmanskog carstva je islam postao uobičajena tema,

and Magellan had found a route into the Pacific Ocean.

a Magelan je otkrio prolaz koji vodi na Tihi okean.

How is a 59-year-old artist who has never been any further than Venice

Kako će se umetnik od 59 godina koji nikad nije bio van Venecije

going to speak to this new world?

obratiti tom novom svetu?

Michelangelo chose to paint destiny,

Mikelanđelo je odlučio da slika sudbinu,

that universal desire,

tu univerzalnu želju,

common to all of us,

zajedničku svima nama,

to leave a legacy of excellence.

da za sobom ostavimo nešto izuzetno.

Told in terms of the Christian vision of the Last Judgment,

Jezikom hrišćanskog viđenja strašnog suda,

the end of the world,

kraja sveta,

Michelangelo gave you a series of figures

Mikelađelo vam iznosi niz figura

who are wearing these strikingly beautiful bodies.

koje imaju upadljivo lepa tela.

They have no more covers, no more portraits

Nisu više prekrivene, nema portreta,

except for a couple.

osim par njih.

It's a composition only out of bodies,

To je kompozicija koju sačinjavaju isključivo tela,

391, no two alike,

391, sasvim različita,

unique like each and every one of us.

jedinstvena kao svako među nama.

They start in the lower corner, breaking away from the ground,

Počinju u donjem uglu, odvajajući se od zemlje,

struggling and trying to rise.

upinjući se i pokušavajući da se uzdignu.

Those who have risen reach back to help others,

Oni koji su se uzdigli kreću ka drugima da bi im pomogli,

and in one amazing vignette,

a u jednoj izuzetnoj vinjeti,

you have a black man and a white man pulled up together

imate crnog i belog čoveka koje podižu zajedno

in an incredible vision of human unity

u neverovatnoj viziji ljudskog jedinstva

in this new world.

u ovom novom svetu.

The lion's share of the space goes to the winner's circle.

Najveći deo prostora pripada pobedničkom krugu.

There you find men and women completely nude like athletes.

Tu ćete naći muškarce i žene koji su potpuno goli, kao sportisti.

They are the ones who have overcome adversity,

To su oni koji su prebrodili nedaće,

and Michelangelo's vision of people who combat adversity,

a Mikelanđelovo viđenje ljudi koji su pobedili nedaće,

overcome obstacles --

prevazišli prepreke,

they're just like athletes.

je da su poput sportista.

So you have men and women flexing and posing

Dakle, imate muškarce i žene koji poziraju u savijenom položaju

in this extraordinary spotlight.

na ovoj izuzetnoj pozornici.

Presiding over this assembly is Jesus,

Ovim skupom predsedava Isus,

first a suffering man on the cross,

najpre čovek koji strada na krstu,

now a glorious ruler in Heaven.

sada veličanstveni vladar Raja.

And as Michelangelo proved in his painting,

I, kao što je Mikelanđelo pokazao na svojoj slici,

hardship, setbacks and obstacles,

teškoće, zastoji i prepreke

they don't limit excellence, they forge it.

ne ograničavaju izvrsnost, već je stvaraju.

Now, this does lead us to one odd thing.

Ovo nas dovodi do jedne čudne stvari.

This is the Pope's private chapel,

Ovo je papina privatna kapela

and the best way you can describe that is indeed a stew of nudes.

i najbolji način na koji je možete pisati je kao gomilu nagih tela.

But Michelangelo was trying to use only the best artistic language,

No, Mikelanđelo je pokušao da koristi isključivo najbolji umetnički jezik,

the most universal artistic language he could think of:

najuniverzalniji umetnički jezik kog se mogao dosetiti -

that of the human body.

jezik ljudskog tela.

And so instead of the way of showing virtue such as fortitude or self-mastery,

Stoga je, umesto da pokaže vrlinu poput hrabrosti i samosavlađivanja,

he borrowed from Julius II's wonderful collection of sculptures

pozajmio je od Julija II i njegove sjajne zbirke skulptura

in order to show inner strength as external power.

kako bi pokazao unutrašnju jačinu kao spoljašnju snagu.

Now, one contemporary did write

Jedan savremenik je zapisao

that the chapel was too beautiful to not cause controversy.

da je kapela toliko lepa da je morala izazvati polemiku.

And so it did.

Tako je i bilo.

Michelangelo soon found that thanks to the printing press,

Mikelanđelo je ubrzo otkrio da su se, zahvaljujući štamparskoj mašini,

complaints about the nudity spread all over the place,

pritužbe zbog golotinje proširile svuda

and soon his masterpiece of human drama was labeled pornography,

i uskoro je njegovo remek-delo ljudske drame označeno kao pornografija,

a u tom trenutku je dodao još dva portreta -

at which point he added two more portraits,

one of the man who criticized him, a papal courtier,

portret čoveka koji ga je kritikovao, papinog družbenika

and the other one of himself as a dried up husk, no athlete,

i svoj portret kao odrane kože, ne sportiste,

in the hands of a long-suffering martyr.

u rukama velikomučenika.

The year he died he saw several of these figures covered over,

Godine kada je umro, video je kako nekoliko ovih figura pokrivaju,

a triumph for trivial distractions over his great exhortation to glory.

što je bio trijumf trivijalnih razbibriga

nad njegovim sjajnim pozivanjem na veličanstvenost.

And so now we stand

Sada se nalazimo

in the here and now.

ovde i sada.

We are caught in that space

Zatekli smo se u tom prostoru

between beginnings and endings,

među počecima i krajevima,

in the great, huge totality of the human experience.

u velikoj, ogromnoj sveukupnosti ljudskog iskustva.

The Sistine Chapel forces us to look around as if it were a mirror.

Sikstinska kapela nam nameće da razgledamo kao da je ogledalo.

Who am I in this picture?

Ko sam ja na ovoj slici?

Am I one of the crowd?

Jesam li među onima u gomili?

Am I the drunk guy?

Da li sam pijanac?

Am I the athlete?

Da li sam sportista?

And as we leave this haven of uplifting beauty,

I dok napuštamo ovo utočište uzvišene lepote,

we are inspired to ask ourselves life's biggest questions:

inspirisani smo da postavimo sebi najveća životna pitanja -

Who am I, and what role do I play in this great theater of life?

ko sam ja i koju ulogu igram u ovom velikom pozorištu života?

Thank you.

Hvala.

(Applause)

(Aplauz)

Bruno Giussani: Elizabeth Lev, thank you.

Bruno Đuzani: Elizabet Lev, hvala ti.

Elizabeth, you mentioned this whole issue of pornography,

Elizabet, pomenula si taj problem pornografije,

too many nudes and too many daily life scenes and improper things

previše nagih tela i previše scena svakodnevnog života i neprimerenosti

in the eyes of the time.

u očima tog vremena.

But actually the story is bigger.

Međutim, priča obuhvata više od toga.

It's not just touching up and covering up some of the figures.

Ne radi se samo o doterivanju i pokrivanju pojedinih figura.

This work of art was almost destroyed because of that.

Ovo umetničko delo je zamalo uništeno zbog toga.

Elizabeth Lev: The effect of the Last Judgment was enormous.

Elizabet Lev: Uticaj Strašnog suda bio je ogromnih razmera.

The printing press made sure that everybody saw it.

Štamparska mašina se postarala da ga svi vide.

And so, this wasn't something that happened within a couple of weeks.

To nije nešto što se dogodilo za par nedelja.

It was something that happened over the space of 20 years

To je nešto što se događalo tokom perioda od 20 godina

of editorials and complaints,

uredničkih članaka i pritužbi,

saying to the Church,

obraćanja Crkvi sa:

"You can't possibly tell us how to live our lives.

„Ne možete da nam kažete kako da živimo naše živote.

Did you notice you have pornography in the Pope's chapel?"

Jeste li primetili da imate pornografiju u papinoj kapeli?“

And so after complaints and insistence

I tako je, nakon žalbi i insistiranja

of trying to get this work destroyed,

kojima se nastojalo uništiti njegovo delo,

it was finally the year that Michelangelo died

najzad je u godini Mikelanđelove smrti

that the Church finally found a compromise,

Crkva konačno pronašla kompromisno rešenje,

a way to save the painting,

način da spasi sliku,

and that was in putting up these extra 30 covers,

a to je bilo dodavanje tih 30 odevnih elemenata,

and that happens to be the origin of fig-leafing.

a to je slučajno i početak pokrivanja listovima smokve.

That's where it all came about,

Tako se sve to odigralo,

and it came about from a church that was trying to save a work of art,

a poteklo je iz crkve koja je pokušavala da spasi umetničko delo,

not indeed deface or destroyed it.

a ne da ga unakazi ili uništi.

BG: This, what you just gave us, is not the classic tour

BĐ: Ovo što si nam ti upravo pružila nije klasični obilazak

that people get today when they go to the Sistine Chapel.

koji ljudi danas dobiju kada odu u Sikstinsku kapelu.

(Laughter)

(Smeh)

EL: I don't know, is that an ad?

EL: Ne znam, da li je to reklama?

(Laughter)

(Smeh)

BG: No, no, no, not necessarily, it is a statement.

BĐ: Ne, ne, ne nužno, to je izjava.

The experience of art today is encountering problems.

Današnji umetnički doživljaj nailazi na probleme.

Too many people want to see this there,

Previše ljudi želi da ovo vidi tamo,

and the result is five million people going through that tiny door

a rezultat je pet miliona ljudi koji prolaze kroz ta mala vrata

and experiencing it in a completely different way

i doživljavaju to na potpuno drugačiji način

than we just did.

nego što smo mi upravo.

EL: Right. I agree. I think it's really nice to be able to pause and look.

EL: Da. Slažem se.

Mislim da je stvarno fino moći zastati i gledati.

No, isto tako shvatite, čak i kada ste tih dana,

But also realize, even when you're in those days,

with 28,000 people a day,

sa 28 000 ljudi dnevno,

even those days when you're in there with all those other people,

čak i tih dana kada ste tamo sa svim tim ljudima,

look around you and think how amazing it is

pogledajte oko sebe i pomislite koliko je neverovatno

that some painted plaster from 500 years ago

da oslikani malter od pre 500 godina

can still draw all those people standing side by side with you,

još može da privuče sve te ljude koji stoje jedni uz druge sa tobom,

looking upwards with their jaws dropped.

dok gledaju nagore otvorenih usta.

It's a great statement about how beauty truly can speak to us all

To je sjajan iskaz o tome kako se lepota zaista može obratiti svakome od nas

through time and through geographic space.

kroz različita vremena i geografsku udaljenost.

BG: Liz, grazie.

BĐ: Liz, hvala.

EL: Grazie a te.

EL: Hvala tebi.

BG: Thank you.

BĐ: Hvala.

(Applause)

(Aplauz)