العشاء الأخير | الدحيح

Summary

نص النص ال有魅力 يتضمن ملخص جذاب لنص النص الذي يغطي جوهر النص ال 長، مع التركيز على قصة الcena النهائية لدي فينشي، وكيف تغيرت رسالتها مع مرور الزمن. يتضمن النص التفاصيل الفنية والتاريخية، وكيف أثرت التطورات الفنية والتطورات الفنية على الرسم الديني. ويتناول النص أيضاً التأثير الثقافي الواسع للobra الفنية على ال公众، وكيف أصبحت هيكل للتعبير عن الأحداث الدينية والسياسية والإعلانات.

Takeaways

• 🎨 'The Last Supper' ليوناردو دا فينشي هو واحدة من أعظم لوحات الرنسانس ويعد جزءًا من التاريخ الفني للبشرية.
• 🖌️ ليوناردو دا فينشي اختراع خطة فنية مبتكرة لهذه اللوحة، استخدم العلوم الجديدة مثل المنظور الخطي للتعبير عن العمق والواقعية في اللوحة.
• 🏰 اللوحة موجودة في دير سانتا ماريا العظمى، التي تعرضت للتدمير خلال الحرب، لكن اللوحة بقيت مع ذلك.
• 👤 الشخصيات في اللوحة تم تمثيلها بطريقة تعكس المشاعر والتفاعلات بينهم، مما يضيف إلى الドラマ والواقعية.
• 🕵️‍♂️ يوسف الدايح، المتحدث في النص، يشرح التفاصيل الفنية والتاريخية وكيف تغيرت التقنيات الفنية من فresco إلى استخدام الزيت في الدهانات.
• 🔍 استخدم دا فينشي تقنية Sfumato لجعل الألوان تتلاشى في اللون الظاهري، مما يوفر لمسة واقعية وعمق للوحة 'The Last Supper'.
• 👁️ الضوء في اللوحة يلعب دورًا كبيرًا في التعبير عن المشاعر والأحداث، باستخدام ال Chiaroscuro لخلق تباين بين الضوء والظلام.
• 🛠️ كانت التجربة الفنية لدا فينشي مع الدهانات المmiscible导致了一些问题، مما أدى إلى تآكل اللوحة وتدميرها بمرور الزمن.
• ✂️ التدمير لم يأتي فقط من العمليات الفنية، بل كان هناك عوامل خارجية مثل التدبير الغير احترافية وتأثير حرب ال同盟 وتدمير الكنيسة.
• 📜 تمت نسخة من اللوحة من قبل دا فينشي بطلب الملك الفرنسي لويس الثاني، مما ساعد في الحفاظ على النسخة الأصلية حتى حد ما.
• 🌐 'The Last Supper' أصبحت موسوعة شائعة في ال甘露، تم استغلالها في مقاطع تسويقية وإعلانات و甚至还出现在了星球大战和安迪·沃霍尔的艺术作品中.

Q & A

ما هي القصة الفنية التي تدور حول ليوناردو دا فينشي و작업ه 'الغداء الأخير'؟

القصة تحكي عن تحديات ليوناردو في إنشاء لوحة 'الغداء الأخير' وصراعه مع الشخصية التي يرسمها، وأيضاً التطورات التي حدثت في اللوحة على مدار السنين وتأثيرها على الفن والثقافات المختلفة.

لماذا كانت ليوناردو دا فينشي يختار لحظة الخيانة في 'الغداء الأخير' لتصويرها؟

里昂纳多 اختار لحظة الإعلان المفاجئ عن الخيانة لتكون نقطة قوية درامية في القصة، مما يخلق توتر وشكوك بين ال使徒s.

ما هي التقنيات التي استخدمها ليوناردو دا فينشي في 'الغداء الأخير' لتقديم ال Depths والواقعية؟

里昂纳多 استخدم تقنية المنظور الخطي للعمق، وتقنيات الـ Chiaroscuro والـ Sfumato لخلق تباين بين الضوء والظلام، مما جعل اللوحة تبدو ثلاثية الأبعاد.

لماذا أصبحت لوحة 'الغداء الأخير' هي واحدة من أعظم اللوحات المعاد تصويرها في التاريخ؟

اللوحة أصبحت شهيرة بسبب تركيزها الفنية المبتكرة، وأسلوبها الفريد في الnarration، مما جعلها تتكرر في مجالات مختلفة مثل الدراما والإعلانات والبرواغاندا.

ما هي الأخطاء التي قامت بها ليوناردو في تجربته مع الطلاء في 'الغداء الأخير'؟

里昂纳多做 실험 مع الطلاء الزيتي وخلطته مع الطلاء التقليدي، مما أدى إلى تقشير اللون في وقت قصير، وبالإضافة إلى ذلك، أدى حرارة المطبخ وفتح الباب في اللوحة إلى تآكلها.

لماذا يعتقد البعض أن لوحة 'الغداء الأخير' لم ت保守 بشكل جيد؟

اللوحة تعرضت لعدة أضرار على مدار السنين، بما في ذلك العمليات التجديدية التي لم تكن متخصصة، وتأثير حرارة المطبخ والرطوبة، وحتى استخدمها كمكان لتخزين الأسلحة وemetery لخيول في أوقات الاحتلال ال拿破仑ية.

ما هي النسخ الثلاث التي تم إعدادها من 'الغداء الأخير' تحت إشراف ليوناردو؟

أنشأ ليوناردو نسخة من اللوحة للملك الفرنسي لويس الثاني، ونسختان أخريان تحت إشرافه، مما ساعد في الحفاظ على اللوحة وعرض التفاصيل التي لم تظهر في النسخة الأصلية.

كيف يفسر الباحثون الاختلاف في التفسيرات للوحة 'الغداء الأخير'؟

يعتقد بعض الباحثون أن التفسير يعتمد على المكان والشخص الذي يشاهد اللوحة، فبعضهم يرىها كرواية عن الإفطار الأخير، وآخرون يرىونها كرواية عن الخيانة.

ما هي الدراسة التي تتحدث عن كيف يؤثر ليوناردو دا فينشي المشاهدات المختلفة على اللوحة؟

هناك دراسة تقول أن ليوناردو لم يرسم اللوحة فقط، بل جعل المشاهدات ت sympathize معها وتضع ت解pretation خاصة لكل مشاهد.

لماذا يستمر النقاش حول لوحة 'الغداء الأخير' حتى الآن؟

يستمر النقاش بسبب التفاصيل التي تظهر بعد كل عملية تجديد، مما يثير الجدال بين المؤرخين حول الelmanating الجمال وأهمية اللوحة.

ما هي التطورات الفنية التي أثرت في 'الغداء الأخير'؟

تتضمن التطورات الفنية التي أثرت في اللوحة استخدام الlinear perspective، وال Chiaroscuro، وال Sfumato، وتقنيات أخرى جديدة في ذلك الوقت.

Outlines

00:00

🎨 'The Last Supper' وصراع الفنانين

في الفقرة الأولى، يُ展开了場对话充满了幽默和讽刺，描绘了艺术家与他的客户之间的冲突。客户因为患有慢性背痛而感到不悦，并对艺术家的创作速度表示不满。艺术家坚持自己的艺术理念，认为他的作品将会流传百年，而客户则急于完成画作。这段对话以客户愤怒离去并要求退款告终，而艺术家则坚持要用自己的方式完成作品，即使这意味着要画下客户的家人共进晚餐的场景。

05:01

🏰 الصراع الثقافي وتدمير الآثار

الجزء الثاني يتناول تاريخ الصراع الثقافي في فلورنس، حيث تعرضت المدينة لحظر من الكنيسة بسبب معارضة الكنيسة للسؤال السياسي. هذا الحظر أدى إلى توقف تمويل الكنيسة للفن، مما أدى إلى نزوح الفنانين إلى أماكن أخرى مثل ميلانو. في هذه ال節中， også يُذكر قصة ليوناردو دا فينشي وطلبه من قبل دوك ميلانو لرسم لوحة في دير سانتا ماريا، مع التركيز على التطورات الفنية التي أدت إلى تصوير 'الظواهر النهائية'.

10:02

🖌️ الابتكار الفنّي في 'الظواهر النهائية'

يتناول النص الثالث تطور الرسم الديني وكيف أدى ليوناردو دا فينشي إلى إحداث ثقافة فنية جديدة في 'الظواهر النهائية'. يستخدم النص التفاصيل الدقيقة من القصة المسيحية لتوضيح كيف قام دا فينشي بتصوير لحظة حاسمة في الحدث، وكيف استخدم العلوم الجديدة مثل المنظور الخطي للتعبير عن الدراما والعمق في اللوحة. كما يُذكر كيف استخدم تقنيات الرسم الجديدة مثل 'الشيراسكورو' و'السفوماتو' لتحقيق نظافة وواقعية في الرسم.

15:02

👥 تحليل الشخصيات والتفاصيل في اللوحة

في النص الرابع، يُناقش تفصيلاً الشخصيات في 'الظواهر النهائية' وكيف قام دا فينشي بتمثيلهم بشكل يعكس المشاعر والتفاعلات البشرية. يُناقش التفاصيل الدقيقة مثل موقف يudas الخيان وعلامة الخيانة، وكيف استخدم الضوء والظل لتوضيح الشخصيات والأحداث. كما يُذكر كيف تم تقسيم ال使徒 إلى مجموعات وكيف أثر ذلك على الرسم البياني للوحة.

20:03

🔍 الأخطاء والتدبير في النسخة الأصلية

يتضمن النص الخامس تفاصيل حول الأخطاء التي أدت إلى تآكل النسخة الأصلية من 'الظواهر النهائية'، بما في ذلك التجارب الفنية التي فشل في، وتأثير الظروف البيئية والتدبير الغير ال适当. يُذكر كيف أدى ذلك إلى تساقط الدهانات وتدمير التفاصيل، وكيف أثر العمليات الCarthyة التي جرت على اللوحة على النتيجة النهائية.

25:05

🌐 التأثير الثقافي واستمرارية اللوحة

النص السادس يناقش التأثير الثقافي الواسع لـ 'الظواهر النهائية' و Kuiler renaissance ال版车型 التي أدت إلى إعادة التفكير وتحليل التفاصيل الدقيقة في اللوحة. يُناقش كيف أصبحت اللوحة موردًا لل畅想 في مجالات مختلفة، وكيف أثر ذلك على التفسيرات المختلفة للأحداث الممثلة. كما يُذكر كيف استمر النقاش حول السبب الذي جعل هذه النسخة تميزت عن النسخ الأخرى.

Keywords

💡الرسم التقليدي

الرسم التقليدي هو أسلوب يستخدم في اللوحات الدينية، يتميز بتفاصيل محدودة وحركات وشخصيات مع خواطر مقدسة تشير إلى طبيعتهم العليا. في النص، يُستخدم الرسم التقليدي لوصف اللوحات التي تمثل العشاء الأخير قبل عمل ليوناردو دا فينشي، مما يظهر تطور فني وتطورات التصور الديني في الفن.

💡المنظور الخطي

المنظور الخطي هو تقنية في الرسم توفر العمق وتزويدي اللوحة، مما يجعلها تبدو ثلاثية الأبعاد. في النص، يستخدم ليوناردو دا فينشي هذه التقنية لجعل اللوحة 'العشاء الأخير' أكثر واقعية وعمق، مما يعزز التفاعل مع المشاهدين.

💡sfumato

sfumato هي تقنية الرسم التي تتضمن تخفيف الألوان والخطوط بحيث لا تظهر أطراف الفرش، مما يوفر لوحة مبتذلة وغير محددة. في النص، يستخدم دا فينشي هذه التقنية لجعل الشخصيات في 'العشاء الأخير' تبدو أكثر حيوية وواقعية.

💡شيرOSCURO

شيرOSCURO هي تقنية الرسم التي تتضمن استخدام الظل والضوء لخلق تأثيرات مثيرة وDRAMATIC. في النص، يستخدم ليوناردو دا فينشي هذه التقنية في 'العشاء الأخير' لجعل اللحظة أكثر تشوقًا وعاطفيًا.

💡الbetrayal

الbetrayal هو ال中心 في قصة العشاء الأخير، حيث ي宣告 يسوع عن خيانة أحد ال使徒. في النص، يستخدم الbetrayal كموضوع رئيسي في النقاش حول لماذا تميزت ليوناردو دا فينشي لوحة 'العشاء الأخير' على اللوحات الأخرى.

💡التجديد الفنّي

التجديد الفنّي هو مفهوم يشير إلى الابتكار والتغيير في الأساليب الفنية والموضوعات الفنية. في النص، يُستخدم لوصف التطورات التي أدى إليها ليوناردو دا فينشي في 'العشاء الأخير'، مما جعلته يميز عن اللوحات السابقة.

💡التصوير البياني

التصوير البياني هو الطريقة التي يستخدمها الفنانون لتصوير الشخصيات والأحداث بشكل يعكس الواقع والمشاعر. في النص، يستخدم ليوناردو دا فينشي التصوير البياني لنقل المشاعر والتفاعل في لحظة العشاء الأخير.

💡التجديد

التجديد هو عملية إعادة صيانة أو إعادة صناعة للعمل الفنية. في النص، يُستخدم لوصف المحاولات العديدة لإعادة صيانة لوحة 'العشاء الأخير' التي تعرضت لتدمير متعدد بسبب الزمن والظروف البيئية.

💡النسخ

النسخ هي مقاطع من اللوحات الفنية التي تصنع لحفظ العمل الأصلي أو لعرضه في أماكن أخرى. في النص، يُذكر نسخ من لوحة 'العشاء الأخير' التي أنشأها ليوناردو دا فينشي أو تحت إشرافه، مما ساهم في الحفاظ على العمل وعرضه للعالم.

💡الarte

الarte في النص يشير إلى الفن ككل، وأهمية الابتكار والتميز في الإبداع الفنّي. يستخدم ليوناردو دا فينشي ال術術 في 'العشاء الأخير' لجعل اللوحة تميزت وتكون مثالًا على الجمال الفنّي.

Highlights

A dialogue between Signor Leonardo and a man with chronic back pain, reflecting the struggle between art and the physical limitations of the subject.

Leonardo da Vinci's artistic process, emphasizing his focus on creating art that will last for centuries, despite the subject's impatience.

The man's frustration with Leonardo's slow pace, highlighting the tension between the urgency of daily life and the timeless nature of art.

Leonardo's defense of his artistic vision against accusations of ignorance and lack of understanding, showcasing the passion of an artist.

A humorous exchange about the subject's comparison to a baker and Leonardo's single famous painting, the 'Mona Lisa', illustrating the artist's legacy.

The exploration of gender dynamics in art, with the subject questioning whether he is treated differently because he is a man.

A dramatic exit by the subject, demanding a refund and highlighting the conflict between the artist and his client.

Leonardo's determination to paint the subject despite his refusal, indicating the artist's commitment to his work.

A discussion about the importance of comfort in posing for a portrait, revealing the artist's need to capture a moment of naturalness.

Leonardo's creative solution to paint the subject having dinner with his family, showing adaptability in the face of rejection.

The subject's resistance to having his family painted, reflecting privacy concerns and the boundaries of artistic license.

Leonardo's declaration of his genius and his right to paint what he wants, asserting the autonomy of the artist.

A historical overview of the bombing of Milan during World War II and its impact on art and architecture.

The story of 'The Last Supper' by Leonardo da Vinci, its significance, and the unique circumstances of its creation.

An explanation of the artistic and religious context of 'The Last Supper' paintings, including the use of linear perspective.

Da Vinci's innovative approach to depicting the Last Supper, focusing on the dramatic moment of revelation and the emotional responses of the apostles.

The technical aspects of Da Vinci's painting, including his use of oil paint and the Sfumato technique, which contributed to the painting's uniqueness.

The unfortunate deterioration of the original 'The Last Supper' painting due to various factors, including Leonardo's own experimental techniques.

The cultural impact and reproductions of 'The Last Supper' in various forms of media, demonstrating its enduring legacy.

A reflection on the subjective interpretation of art, suggesting that each viewer brings their own perspective to the painting.

Transcripts

Signor Leonardo,

I have chronic back pain, OK?

Didn't I tell you not to move your mouth?

I was painting your lips!

Oh my God! You are still there?

I will be as old as you when you reach my navel!

Listen, I don't like talking, or moving too much.

Don't interrupt my thoughts.

Well, respectfully, I am going to the North Coast with my friends.

So, if you can go faster, I will be very grateful.

What do you mean go faster?

You think this is a 4x6 photo with a white background?

I'm creating art that will last hundreds of years.

And I only live once, Lord is mercy, and my back needs mercy!

You monster! Alfredo!

I have had enough with you!

You are ignorant, you don't understand art, and you are named after pasta!

Well, you are a failed artist,

and your only meaningful painting was the 'Mona Lisa'!

Be honest, did you treat Mona the same way you are treating me?

Or is it because I am a man and uninteresting?

Who are you comparing yourself to, boy?

She is a classy woman, but you are just a baker.

Are you taunting me?

You know what? I'm leaving! Give me back my deposit.

And here!

What is this? Are you backtracking?

No, I have to paint you!

I have to use you!

Look, I'm not letting this go!

You will paint me when I feel comfortable enough!

O God! And what will make you comfortable, man?

Look, forget about it. Don't paint me, I'm not in the mood.

I will go have dinner with my family

to say goodbye to them before I travel.

OK, fine. I'll paint you having dinner.

What? You think it's that easy?

Walk into our home and paint us having dinner?

Goodbye to you and your vase!

Go ahead and leave!

I'm a genius! A genius!

I paint what I want!

Whatever, man. I'm leaving. Paint the furniture in here instead!

Are you crazy, boy?

I will paint this vase, and it will last thousands of years! How about that?

Ciao, you lunatic!

Mr. Alfredo, stay where you are!

Mr. Alfredo!

Please, Mister! Let's just try to talk it out.

Why are you mad?

You know, if I go with you, you won't have to offer me dinner!

For real! I'm on a diet!

Hello, my dear viewers.

Welcome to a new episode of El-Daheeh.

My dear beautiful viewer, this episode is an artistic one.

Just artistic, OK? So, don't get carried away by things.

In 1943, at the end of World War II,

The Allies launched a series of heavy aerial bombardments

on Italian cities to force them to surrender,

after the fall of Mussolini.

During the bombing of Milan, historic buildings there were destroyed,

such as Palazzo Marino and Sforzesco Castle.

But the most terrifying moment the city experienced

was when the convent of Santa Maria delle Grazie was partially bombed.

"If castles and palaces were destroyed, then, convents will too, Abo Hmeed."

Actually, the convent was not completely destroyed.

It was just a minor injury to the building.

And actually, this convent was not any convent.

It had one of the greatest paintings of the Renaissance period,

and some consider it the greatest painting in the history of humanity,

which is 'The Last Supper' by Tuscan artist Leonardo da Vinci.

"Excuse me, Abo Hmeed. Why did he leave his painting there?

Why don't you put it in a museum? Or someone's palace?"

In order to answer this question, we need to take many steps back,

and begin the story from the start.

Our story begins with the Duke of Milan, Ludovico Sforza,

who sent a commission to Da Vinci in 1495

to paint a painting in the convent of Santa Maria.

This man wanted to bury his family in the convent.

Da Vinci was a famous artist in Florence,

which was the capital of arts in Europe back then.

He had his own workshop, his own students, and his status in society.

But the moment he got this invitation, he ran for it.

That is because the capital of arts at that time was at its worst.

In the year 1478, Lorenzo de' Medici,

the ruler of Florence, experienced a failed coup attempt.

He survived it, but his brother was killed.

So, he responded with a series of public executions of all members of the conspiracy.

This included who? Archbishop Salviati.

This violent reaction caused terrible conflicts with the Church

to the point that Pope Sixtus IV decided not to be "silentus" about this.

So, he declared an interdict or against Florence.

Simply put, no Florentine child would be baptized at birth.

No funeral, or marriage ceremonies would be held.

No Palm Sundays, or processions.

No celebrations, until Nour loves Hatem Ibn Naima!

'Chaos, This Is' a 2007 Youssef Chahine movie.

Florence was blocked!

An entire city was banned out of Christianity in the eyes of the community.

"But, Abo Hmeed, Da Vinci is an artistic man.

He is neither a priest, nor a politician!

What does he have to do with this?"

According to the writer Cory Claus,

The Church during the Renaissance was...

The Church was the biggest client in the art world.

This is because when Christianity originated,

drawings and icons were a way to define religion.

That's why most Renaissance artists made their way in art

by painting religious themes under the authority of the Church.

Painting famous scenes, like the birth of Christ.

Now, imagine an entire city banned by the Church!

Artists couldn't earn their living.

So, Da Vinci traveled to Milan, which wasn't censured.

And he painted a painting in a convent.

So, who will supervise that painting? Exactly, my friend! The Church!

"Great. What did the Church ask him to paint, Abo Hmeed?"

That is another long story. Let me explain.

"Abo Hmeed, you keep pressing CTRL + N, CTRL + N, CTRL + N.

We want less of that."

We spread the cards, and collect them in the end, my friend.

Leonardo da Vinci stood in the monks' dining room,

in the convent of Santa Maria in front of an empty wall,

and he was asked to paint the Last Supper.

On the opposite wall, there was a painting previously done by Giovanni Montorfano

that portrayed the crucifixion of Christ.

At that time, there was a tradition where they painted in the monks' dining rooms

the Last Supper on one wall, and the crucifixion on the opposite wall.

Imagine that? Every time they have supper, they see the 'Last Supper'. A great omen!

Truthfully, these two events are very closely related in Christian theology.

Jesus Christ was nearing the end of his message,

and the Jews who wanted to get rid of him wanted to kill him.

So, he gathered his apostles for a meal, which would be the last supper.

That's because one of the apostles betrayed him, and told the Jews where he was.

"But, Abo Hmeed, at a time like this, they had time for dinner?"

It was a religious ritual.

Jesus and his apostles were having dinner according to Jewish rituals.

According to Judaism, when the Jews were in Egypt,

a number of terrifying plagues befell them, such as blood, frogs, and lice.

The final plague was that the firstborn son would die in every home.

So, in order for the Jews to avoid that,

they must sacrifice a lamb.

The lamb was a sacrifice instead of the death of the eldest son.

Then, they would mark their door frames using the lamb's blood

as a sign, in their belief, that tells the angel of death not to enter their homes.

Dinner would be the lamb's roasted meat,

and they ate it with unleavened bread,

since they were asked to have that meal as they were fleeing Egypt.

So, there was no time to leaven the dough.

According to Christianity, or the New Testament,

written after the Old Testament,

instead of the sheep being the one that would be sacrificed for humans,

Jesus was the sacrifice.

That's why, the painting they always paint

on the opposite wall to the 'The Last Supper'

is the scene of crucifixion where Jesus redeems humanity.

In the painting 'The Last Supper', we see the last supper in Judaism,

and hence, the beginning of Christian ceremonies.

The truth is that these two scenes have been drawn many times before.

Like I said, painting was a very important tool for the Church.

Leonardo himself must have seen many drawings of the Last Supper,

before he made his famous painting.

"Abo Hmeed, I don’t understand the plot.

Can you slice it up and put rice on the side?

Wait a second, Abo Hmeed. Let me recap.

We are dealing with a Florentine artist.

His city got blocked by the Church.

There was no longer church funding for the art world there.

So, he went to another city, which is Milan,

and he was asked to paint 'The Last Supper' because of his fame. He didn't work for it.

Also, based on our knowledge, this painting was painted a lot before."

Exactly, my friend!

"Then, why did they grab this man and portray him as a genius to us?

And that his painting is extremely genius and important?"

A good and relevant question, my friend! I will answer it for you.

Let's look at 'The Last Supper' paintings before Da Vinci.

First, you will find paintings like this:

Jesus and his apostles have limited features and movements.

Also, above each one of their heads there is a sacred halo or golden circle

that confirms their holiness.

This halo makes anyone who sees them

feel like they are above humans.

If we look at these two paintings, we will find these two pieces of art

were painted shortly before Leonardo's painting also in Florence.

So, Leonardo da Vinci probably saw them.

Each of them was painted in a dining hall in different Florentine convents.

If you look, you will find that the way they paint the scene keeps on developing.

Judas the traitor, who betrays Jesus,

would be portrayed as an outcast and isolated person,

sitting on the other side alone opposite to Jesus and the rest of the apostles.

The features of the apostles began to show more life.

However, it was still a bit rigid.

Also, notice that the notion of holiness decreased.

They tried to paint them like normal human beings.

The halos were no longer golden circles like before.

In the second painting, there were no halos.

The supper scene started to come to life more

in order to resemble reality,

and allow anyone who sees it to experience it and not feel distant from it.

But a more important development occurred

which gave these drawings depth and made them more realistic,

when engineer Filippo Brunelleschi discovered the linear perspective.

After that, painters started using it.

"Abo Hmeed, please explain to us the linear perspective,

without needing to ask engineering students.

I can't deal with their egos right now!"

Let me explain to you what linear perspective is, my friend.

You know how when you walk in a street there are light poles?

The poles near you are large in size.

But the farther away they are from your eyes, the smaller they get.

The farther you look, the smaller they get.

This has a simple engineering rule,

that they all reach a point called the vanishing point,

as you can see here.

Perspective was used in painting to create an optical illusion.

So, a painting on a two-dimensional sheet

was given depth and the scene became 3D.

It doesn't just have length and width; it has length, width, and depth.

Through an optical illusion in a painting, my friend,

you can inform whoever sees the painting that it has layers.

This in front of that, and that behind this.

And a pole isn't just two parallel lines,

it has a third dimension. It has depth.

The first application of linear perspective in a religious painting

was in the Holy Trinity by Masaccio.

If you look at it, you will feel that the scene is now more realistic.

It has depth now.

There are layers. You know that this step is above that step.

You see the large Arch in front of you and are aware of its engravings.

You see who is standing in front of who, and who is at the back of the painting.

This was a very big challenge.

All these developments created challenges for Leonardo da Vinci,

who, as we saw, was about to paint a painting that keeps on evolving.

One says: "We will do halos."

And the other says: "No halos."

And another says: "We will do perspectives."

The features of the characters and the artistic culture of society change.

These are challenges facing Leonardo da Vinci.

Which options will he choose in this painting?

During Da Vinci's time, he felt that, out of all the people who came before him,

he had to present the greatest developed version of 'The Last Supper' painting.

According to one of the heritage curator at the Louvre museum,

Da Vinci didn't want to paint a lot of paintings

as much as he wanted to paint perfect ones that are more important than other artists.

So, you will notice one of Da Vinci's works the 'Mona Lisa',

which is a very small painting, is more famous than the history of many artists!

This may be due to Da Vinci's birth,

who was named after his village.

Vinci is a small village on the outskirts of Florence.

Da Vinci was born a bastard, the son of an illegitimate relationship.

So, no matter how talented he was as an artist

he was always confined to a lower social class.

An artist who was not invited to wealthy family parties,

He didn't take part in their events like great artists do,

such as Botticelli or Michelangelo,

who had strong ties to wealthy families, such as the Medici family.

That's why Leonardo always wanted to be different and special

in everything he did,

because he had no support.

All of these motives came together in the 'The Last Supper' painting especially,

because all of the artistic projects that Da Vinci took on

from the moment he arrived in Milan had failed.

To the point where he became the technical supervisor

of custom designs for royal court parties.

"Leonardo da Vinci? Oh no, Abo Hmeed!"

Of course, this was very difficult for him.

"Could it be that I, one of the most important artists of my time,

am making customs for royal family parties?

doing birthday parties?

shortening the bridesmaid’s dress and adding sparkles?"

All of that builds a context, or frame

to show you how much Da Vinci was interested in this painting,

and how he was very interested in perfecting it, because he has seen a lot.

In addition, Da Vinci had a philosophy that said:

An artist should not imitate another artist,

Because then, rather than the son of nature,

he will be the grandson!

And when you are a bastard, you care a lot about your lineage!

This is exactly what Da Vinci did.

"Doesn't every new version of The Last Supper try to get a step closer to realism?

Well, I will take all these steps, and make it a part of reality itself."

According to Ross King, author of 'Leonardo And The Last Supper',

Leonardo ignored the paintings that came before him, and bought a copy of the Bible.

He began to read the story of the Last Supper with all its details

like he's reading a novel,

or in Ross King's words,

as if he's watching an exciting movie and he is the director,

who is required to choose his heroes and choose the way of storytelling.

Leonardo went to the market and studied people's faces,

as if he was choosing the heroes for his painting, a director evaluating actors.

He painted their anatomical positions and their bodies in the smallest detail.

Also, Da Vinci clearly benefited from his work

of designing plays in the garden's palace at the parties he was working at,

because he painted a theatrical scene.

And not just any scene, it is a master scene.

You know when there is a pivotal scene on stage

to the point that the actors stop and freeze?

Da Vinci didn't only paint an ordinary dinner like those before him,

but, he chose the most important dramatic moment in the Last Supper.

He chose the perfect timing for the picture.

Da Vinci decided to capture the moment

when Jesus declared that there is a traitor among them.

A sudden announcement of a crime.

A question of who did it, and everyone is a suspect.

A tense situation.

If you look, you will see Jesus setting with his apostles around him,

and the lamb and the bread that remained of supper are on the table.

A supper that follows Jewish traditions, as I explained, because they are still Jews.

Suddenly, Jesus says to them:

"Very truly I tell you, one of you is going to betray me."

So, we learned about Da Vinci's genius in choosing what to paint,

which moment, and how to compose it.

Now, the second question: How will he paint it?

Here, Da Vinci used the new sciences of his time,

and he employed them to serve drama.

What was new at the time was the idea of ​​linear perspective.

Remember the vanishing point I explained to you?

Do you see where he chose to put it here?

As if he was zooming-in on Jesus' face after he dropped that bomb!

Not only that, he also showed the perspective

in a more revolutionary way than those before him.

It was visible in the ceiling, floor, and the doors on the sides,

and even in the table sheets.

Why did he do this?

He dis something called breaking the fourth wall.

Remember Kevin Spacey?

There is a rule of theater that says:

The stage consists of three walls,

and a fourth wall that separates the actors from the audience.

It is a fourth wall that no one sees.

When the actors decide to forget this wall,

and look at the audience, talk to them, or interact with them,

we say that the fourth wall is broken.

For example, we see this in 'House of Cards'.

We also see this in Egyptian cinema in the movie 'Terrorism and Kebab',

where Kamal el-Shennawi wanted to convince viewers that he was actually a minister.

He talked and looked at them as citizens, while sending a message to them.

This served drama.

It also happened in the series 'Ayza Atgawez'

when Hend Sabry spoke to the viewers every now and then.

Here, Da Vinci also broke the fourth wall.

He made viewers feel as if they were part of the scene, sitting with them.

And when the monks see the painting, they feel as if they are eating with them,

as if they can hear the words of Jesus echoing in the room,

as if they are part of the event, and each one praying to God not to be the traitor.

Everything in the painting moves your eyes towards the face of Jesus.

Jesus is in the center of the painting, as the hero.

His body is in a pyramid shape.

This kind of gives him a sense of stability.

He is not worried, and he knows what will happened.

Da Vinci painted his face, features, and body movements to be very calm,

even though he knew he was going to get crucified.

Also, looking at his clothes,

we find red, the color of blood and sacrifice

and blue, the color of the sky.

As if he is the link between heaven and earth.

And soon, his blood will be sacrificed for humanity.

Jesus' legs are not a sitting position.

they are very close with one leg behind the other.

The position of his legs resembled crucifixion.

His stability is met by chaos in the movement of his apostles around him,

since they were just told that there was a traitor among them.

Each one doubted himself and others.

If we look carefully, we will find that there is chaos,

but it's also very organized.

Da Vinci divided the apostles into 3 groups,

but they are not separated; they are actually linked together.

Let's look together at the heroes of the painting one by one,

as if each one of them is the hero of a novel, not just a painting.

This is John, the closest apostle to Jesus,

or as he describes himself in the 'Gospel of John':

"The Disciple Whom Jesus Loved."

Notice that he is the only one out of the apostles who is sitting comfortably.

His body language says so.

"Abo Hmeed, why did he paint him like that?"

This is because Jesus gave him a clue who the traitor was.

Jesus told him that he will dip the bread and give it to the traitor.

Indeed, he dips the bread and gives it to Judas.

John is relieved when he figures out the traitor.

The one who has his hand on John's shoulder is Peter,

as if he is asking him: "What did he Jesus tell you?"

Peter, despite his position, was described as a hasty person.

You will find that he has a dagger.

This dagger, my friend, has a very important story.

When Jesus was arrested, Peter would try to defend him with a dagger.

And he cut off Malchus' ear, the servant of the high priest.

Jesus rejected Peter’s actions,

and he put the severed servant's ear back where it was.

And it miraculously healed perfectly.

But notice that in this painting, before all these events,

Peter had the dagger hidden behind his back.

So that Jesus does not see it,

because he knew that Jesus will be against it.

Notice Da Vinci's interest and his focus on the details of the story.

If you look among them, you will find Judas, the traitor.

Judas' left hand is reaching out

to the same dish that Jesus' right hand was reaching out to.

This is the mark of the traitor.

"The one who has dipped his hand into the bowl with me will betray me."

Leonardo cleverly added the mark of the traitor

as an artistic detail in the painting.

Also, if you notice, Judas has a bag of money in his right hand.

Why? Because he received money for handing Jesus over.

Look at the hand holding the bag.

Notice how he tightly he is holding it.

The veins and nerves of his hand are visible and prominent.

Also, you will find visible veins in his neck.

It shows that he is nervous and his heart is a pounding.

He did a bad thing and fears getting caught.

He is even facing away from the painting,

because he is afraid and wants to hide himself.

His hand pushes over the salt on the table, and it spills over.

A verse in the Bible says:

"You are the salt of the earth.

But if the salt loses its saltiness, how can it be made salty again?

It is no longer good for anything,

except to be thrown out and trampled underfoot."

It's almost represents his destiny.

Man is like salt, he can give life a taste.

But if he goes bad and falls to the ground, he will lose his soul forever.

This is an artistic detail that adds a prophecy and fate to the character.

It allows us see his end before he even betrays.

Also, look at where Judas is on the painting.

In front of you are Leonardo's primary sketches.

We will notice that he placed Judas on the other side opposite to the apostles.

As others did before!

They isolated and distinguished him from the rest that way.

But when Da Vinci read the story, he realized that Judas was among them.

And no one knew who the traitor was at that moment.

To the point that they all doubted themselves.

The smartest move is to avoid being obvious and sitting on the opposite side to them.

So, instead of Da Vinci taking the easy and repetitive path,

he decided to isolate him in other ways.

Like what? Like lighting.

In a way, they all have lighting on them, except for him. He is in the dark.

Now, we go to the group of 3 next to them.

Andrew, Peter's brother.

That's why, you might see a resemblance.

His body language shows an expression where he denies betrayal.

This is Little Jacob. His hand placement linked the two brothers together.

It also linked these 3 characters with the previous 3.

The last one in the group is Bartholomew.

If you pay attention to his body, you will feel that it looks like a bracket.

As if this bracket ended the painting.

If you move your eyes to the other side,

You will find James the son of Zebedee.

You will notice a similarity in his features with John and with Jesus himself,

because he is actually John's older brother,

and the two are Jesus's cousins.

Maybe that's why Da Vinci highlighted the resemblance

and made Jesus and the two disciples who looked like him the most

on his right and on his left.

Of course, we are not historically sure whether Da Vinci meant it or not.

But we can say that this is a beautiful detail.

If we look at Philip,

We will find that he is appropriately concerned about the situation.

The one with the strange position is Thomas.

But his position has a reason and a story.

After the crucifixion, Jesus raised from the dead and appeared to his apostles.

The first time he appeared to them, Thomas was not with them.

And when they told him, he said:

"I will believe it when I see the wounds of nails on his hands and feet,

and I could put my finger inside the spear stab wound."

When Jesus was crucified, the Roman soldier pierced his side with a spear

to make sure he was dead.

Thomas asked to stick his finger into his side where the stab wound is,

which is clear in Caravaggio's painting.

Now, the next 3! Matthew was a simple tax worker.

The Gospel of Matthew is attributed to him.

We see that he has his back turned to Jesus,

but his arms are pointing to him.

Next to him is Thaddeus, Jacob's younger brother.

And after that, Simon the Canaanean from Cana, the last one on the right.

Again, as if I have he has the his body of a bracket.

According to Mario Taddei, an expert on Da Vinci's works,

Da Vinci transformed apostles, Jesus, and a sacred scene

into a scene where ordinary people get emotional, complain, and are moved.

Or in his words: Common Men.

Now, let's leave the characters, and go to the lighting.

Don't notice anything? The lighting in the painting is night-time.

Leonardo uses the Chiaroscuro lighting.

This technique creates a contrast of colors between light and dark gradually.

A technique that paved the way of Italian art in the 15th century.

Then, artists like Rembrandt would master it.

Also, Leonardo used the Sfumato technique.

He does that by making a gentle gradation of color

to the point that brush strokes are not visible.

If you focus, you will feel like the touch of the brush is not visible.

This is because he also used oil paint to help with these two techniques.

This was a new method at the time that only appeared in Northern Europe.

Leonardo was an artist who was ready to try any new technique all the time

as long as it suits the purpose of his painting.

In the case of the Last Supper,

we have a mysterious night scene,

and a dramatic moment in which shadow and light

play their roles among sacred heroes, and a traitor hidden among them.

This technique was completely different from Florentine artists

who used the Fresco technique.

"What is that, Abo Hmeed? Pasta?"

My Friend! I missed you!

I miss your humor and your meaningless questions!

And your country accent that I added to you without you being country!

Now that you are here, I will explain fresco.

Fresco means that they lay a layer plaster on the surface,

and they paint on it while it is still wet with tempera colours.

These tempera colors is created by grinding up oxidized rocks,

or plant pigments from flowers,

or leaves like dried parsley,

and grind them with egg yolks

plus vinegar and using it as colors.

"It turned out to be food, Abo Hmeed!"

People who use the fresco technique had to work quickly before the plaster dries.

But oil paints are not like that.

In addition, adjustments to the tempera colors are not available.

However, oil paint adjustments are made completely comfortably.

Of course, this is more appropriate for Leonardo's paint style and personality,

since he liked to be in the mood.

"I won’t rush to paint before the plaster dries, and ignore the art details."

Matteo Bandello described Da Vinci,

who he visited while doing the painting,

that he sometimes worked from morning until the sun sets

without putting down the brush.

He forgot to eat and drink, and painted without getting bored.

Other times, he sat for days without touching the brush.

Staring at his work with his arms crossed.

He said that his mood created a genius painting with genius details.

But, of course this mood had its price.

My dear viewer, can I shoot a plot twist between your eyebrows?

"Why, Abo Hmeed? This is evil."

Let me tell you, since you have reached this point in the episode with me,

that the painting that we have been dissecting is not the original painting.

-"What!" -Unfortunately, my friend, this is a copy.

[My friend] "I will come for you, Daheeh!"

Calm down, my friend! Don't curse and slander me so quickly!

If you want to see the original painting, you will see it like this.

What we can see of the painting is approximately less then 20% of what it was.

The truth is that the first person who destroyed this painting

wasn't the Allied bombing I told you about at the beginning of the episode.

No, it was Leonardo's own mistakes.

A smart man's mistake is a thousand. And ask the black market!

"Abo Hmeed, tell us. How did Leonardo make mistakes?"

It's not the time, my friend. Let us focus on the allies and bombings!

Like I said at this time artists were using tempera colors.

This is an old and proven technique that preserves the life of the painting.

It's enough to say that the drawings of ancient Egyptian tombs

was painted with this technique.

But Da Vinci's experiments with oil paint were what caused this.

He was first prepared the wall with plaster.

After that, he put a layer of calcium and magnesium.

Then, he added a lead white layer.

This is a white color made of lead,

which was the white color they were using at that time.

After that, he let the surface dry.

Then, he printed the painting on the surface using cardboard.

He drew the painting on a paper like cardboard,

then, he pierced the outline with a needle.

After that, he ground charcoal and wrapped it in a cloth

tying it like a bag of money,

then, he traces and knocks this cloth over the cardboard filling the holes with coal.

Therefore, the outline is printed in a dotted line.

"That's all good , Abo Hmeed.

Seems like the man has a good plan for what he is doing.

Where is the problem? I don't see it!"

As I told you, Da Vinci was experimenting with oil paint.

No one in the south had tried it before him.

And he had not traveled, nor learned it from its owners in the north.

Of course, there was no YouTube!

So, he mixed the tempera, which consists of oxides, egg yolks, and vinegar,

and added the tempera to oil paint.

Unfortunately, mixing oil with that was a mistake!

This mistake caused the paint to flake after a very short period of time.

The paint began to peel to the point that Leonardo restored it himself in his lifetime.

But also, there were other reasons why the painting was ruined.

But that was not Leonardo's fault.

This painting was located in the monks' dining room.

And the back of the painting was their kitchen.

The heat of the kitchen would heat up the wall,

which has? The painting!

And you don't need an engineering expert

to tell you that water and humidity causes dampness in walls.

Of course, this ruined the painting!

Also, after a while, the convent residents decided to build a door

between the kitchen and the dinning room.

-Fantastic! -"Why, Abo Hmeed?"

To deliver food easily.

Now, where they opened this door?

In the painting, my friend.

"Abo Hmeed, you are definitely joking, right?"

No, my friend. In the painting!

-"What? Leonardo da Vinci's painting?" -Yes.

I don't even want to say the worse part.

I swear I'm embarrassed, and you will think I'm joking, but it's all in the sources.

The door took a piece of the painting form the middle

and hid Jesus' legs from under the table.

Do you see that, my friend?

So that food can be delivered easily!

Humans only care about food, my friend.

The picture in front of you was published on 1652.

After that, they covered it with a curtain which scratched it.

The curtain also smothered it,

which increased moisture and increased the peeling.

Since 1762, six restoration processes have been carried out

without professional methods,

where they used glue and wax.

And the wax collects dust, my friend. So it got worse!

And the painting got really dark over time!

To the point that one of the restorers

who professionally restored the painting in 1999

said that the layers of paint on this painting

was almost similar to cake layers.

"Well, cut us some, Abo Hmeed! We want dessert!"

You are joking?

"Enough, Abo Hmeed. You broke my heart over the painting. I'm hurt!"

Unfortunately, my friend, the matter did not stop there!

In 1796, Napoleon occupied Italy.

And Napoleon's soldiers transformed the room which had 'The Last Supper'

into a weapon storage, and... a horse stable.

"What? you must have made a mistake!

You meant "course" like they took lessons there, right?"

- No, my friend. I said a "horse" stable -"Horse?"

Of course, the painting got even more destroyed.

And after Napoleon left,

and they felt that there was hope to restore the painting again,

the World War came and they bombed the area.

And it seems that the bombs were wiser than their makers.

The bombing hit the convent, but fortunately, this wall did not fall.

And it stayed for 3 years without a roof.

Then, it got covered, as you can see.

Lucky for us, the backup version was made.

But who did it and what is the story? I'll leave and let you know.

About a year after Leonardo da Vinci finished 'The Last Supper',

the French King Louis XII invaded Milan.

Louis wanted to take the painting with him to France.

And he asked the engineers to move it.

Meaning they would remove the wall and carry it in fours towards France.

Do you know the joke about the elephant from the fridge?

The same steps!

But of course this was impossible.

After a while, the king called for Leonardo da Vinci,

and asked him to paint a copy of the painting for him

which is located today in Switzerland.

Also, two more copies were made.

They were also done under the supervision of Da Vinci.

The truth is that this version helped us see things

that was not visible in the original one.

Da Vinci's painting 500 years later

was exposed to all possible forms of destruction

from Napoleonic conquests and world wars,

and from the painter who did it himself,

until there was only 20% of it left, my friend!

But it become one of the most reproduced and reprinted paintings in history.

As if everyone recreating it wanted to make sure it's a masterpiece

that must be remade a thousand times.

Even though the painting expresses a religious event specific to the Christianity,

but, its unique composition and way of telling the story in a nice way

made it one of the most reused paintings in different ways

in areas far removed from the Church.

Fields such as drama, advertisements, propaganda, and caricatures,

even in pictures of friends together.

We will find ad campaigns for the most famous jeans brands

using the paintings' design in their advertising.

This is a poster for one of the most important cooking shows

created with the same Layout.

You also have Star Wars.

And this is a painting by the American artist Andy Warhol

inspired by 'The Last Supper'.

Da Vinci's painting, as it was repeated thousands of times for more than 500 years,

its original copy will be subjected to continuous restorations.

And whenever its details become clear, it will spark dispute among art historians.

Why does this painting get refered to the most when representing the Last Supper?

Notice, as we said before,

there is more than one painting! There are many more before it.

And many more after it!

The historians' question focused specifically on the idea:

Is it attractive because it's actually the best painting of the supper?

Or is it the idea of ​​betrayal that was beautifully documented in the painting

unlike the previous paintings? The genius of the concept?

According to Professor Gilbert of Yale University,

the answer to the question depends on the location.

If you saw it in the convent in the dining room, you will think of the supper.

But in any non-religious place, you would think about betrayal.

But according to Professor Kathleen Brandt,

Da Vinci's paintings gave both meanings at the same time.

And determining which meaning prevails over the other

is not done by the place, but the person looking.

This agrees with a study titled:

The study says that Da Vinci didn't only paint a painting,

he also made you sympathize with it when you see it,

and define what you see.

Or as the study puts it:

"the viewer to become a witness of what he saw."

Maybe this is the genius of art:

To describe to you in an a full episode

the aesthetics of a painting that charmed the world,

and try to explain it to you in detail,

But when you see it, you choose your own translation,

and your own interpretation, which differ from the opinions of previous people.

Or as Da Vinci put it:

"A painter must be delighted to add diversity in his works and avoid repetition,

so he is able to, through purity of his creation,

attract and charm the lookers' eyes."

I will leave you with this painting to contemplate and tell me what you think.

And last but not least, don't forget to watch the old episodes, and the new ones.

Check the sources below.

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