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从公元前就开始的西方女裸体艺术创作,虽然其创作形式各有不同,但是其中所表达的寓意却大致是一致的,那就是对这个世界的主体——人类的讴歌,成为绘画和雕塑等艺术形式的永恒主题,而自然界的其他物种却成了陪衬的“他者”。从米洛的阿芙洛狄特的大理石雕塑开始,那种对女裸体美的崇尚就充满着对大写的人的膜拜。至1482年意大利画家波提切利的“维纳斯的诞生”,那周围一切人与兽、花与草的描绘都是那个矗立在画布中央的美的“人”的陪衬和烘托。14世纪初意大利的画家拉斐尔的“优雅三美神”仍然是在将女裸体神化,可见出人的中心地位的确立。
Although the forms of creation of Western female nudes began from the beginning of the BC, their meanings are generally the same, that is, the main body of this world - the human populace, the painting and sculpture The eternal theme of the art form, and other species of nature has become the foil of “the Other.” Starting from the marble sculpture of Aphrodite in Milo, the veneration of the nude beauty of women is full of the cult of uppercase people. To 1482, the Italian painter Botticelli “The birth of Venus,” surrounded by all the beasts and animals, flowers and grasses are depicted in the middle of the canvas stands in the beauty of the “people” foil and contrast. At the beginning of the 14th century, the “graceful beauty of the United States” by the Italian painter Rafael is still deifying the nakedness of the woman and establishing the central position of being human.