世俗·理性·神性——意大利文艺复兴时期裸体艺术的本质
Secular, Rational, Divine—The Nature of Nude Art in the Italian Renaissance

裸体在西方艺术史中具有一种本体性的地位，当裸体作为一定距离之外的对象呈现时，就成为了逼人正视自身的本质性存在。裸体作为古希腊人颂扬对象，被赋予积极的内涵；到了中世纪，禁欲主义和蒙昧主义一度贬低裸体艺术，后经乔托对现实主义的探索，和文艺复兴对古希腊罗马古典文化的研究，美的裸体艺术重回艺术史，并将人文主义精神渗透至其中。裸体艺术作为表现人文主义的象征性符号，成为人们表现自我本真本质的有力的工具。意大利文艺复兴裸体艺术由此具有了三种属性：世俗、理性、神性。
The nude has an ontological status in the history of Western art. When presented as an object beyond a certain distance, it becomes an essential presence that forces one to confront himself or herself. As a praised object by the ancient Greeks, the nude was given a positive connotation. In the Middle Ages, asceticism and obscurantism once devalued the nude art. Later through Giotto’s exploration about realism and the Renaissance’s study about classical culture of ancient Greek and Roman, the beautiful nude art returned to art history and permeated it with the spirit of humanism. As a symbolic symbol of humanism, nude art became a powerful tool for people to express their true nature. Italian Renaissance nude art thus took on three attributes: secular, rational and divine.