裸体名画中，艺术与色情的边界在哪里？

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“芭比艺术活动家”（ArtActivistBarbie）是活动家创立的重要项目之一，哈德兹费尔得大学讲师blablabla是此项目的创始人。她会用一个芭比娃娃来模拟名画中的女性形象，展现“另一自我”，以此启发学生对于女权的思考，尤其是艺术作品中的女性形象。

The activist‘s placard bearer is ArtActivistBarbie, a Barbie doll posed in front of artworks and monuments, and the playful alter ego of Sarah Williamson, a senior lecturer at the University of Huddersfield. Williamson began the project as way to engage students with feminist ideas, and in particular the way women are portrayed in art.

alter ego：“另一自我”，也称“同我”，人类学研究中概念，指人与其它事物之间存在一种紧密相关的命运。

在系列电视节目Shock of the Nude（《裸体的震撼》）中，古典文学教授玛丽·比尔德也提出了类似的问题。在节目中，许多男性艺术家试图将他们作品中出现的裸体女人合理化：画面捕捉到的那些或沐浴或半梦半醒的裸体女性代表着一种无辜感。

The classics professor Mary Beard asked a similar question in her TV series Shock of the Nude, which explored the many ways male artists have tried to justify the existence of naked women in their paintings: reclining nudes are depicted as innocently ‘caught’, half-bathing or somehow sleepily compromised in a state of undress.

比尔德教授向BBC的文化版块表示：“我认为，艺术与色情的定义界限一直模糊不清。对于过去的事实，我们应该从过去以及当下两个角度进行审视。我们必须学会正视过去及其错误。”

Professor Beard tells BBC Culture：“My line is that the boundary between art and pornography is always a treacherous one and the point about the past is that we have to see it both in its own terms and ours. We have to learn to look the past and its faults in the eye.

100多年来，女权主义者一直在关注艺术界存在的性别歧视现象。1914年，玛丽·理查森作为一名妇女政权论者在伦敦国家美术馆抗议，并用一把斧子砍向委拉斯开兹的作品《镜前的维纳斯》。画面上，全身赤裸的维纳斯背对观众照镜子，她的臀部正位于画布的正中央。理查森称，她抗议很大程度上是因为许多男性痴痴地看着这幅画的嘴脸。

For more than 100 years, feminists have drawn attention to sexist attitudes that exist within the art world. In 1914, the suffragist Mary Richardson attacked Velázquez‘s Rokeby Venus with an axe. The painting portrays Venus looking in the mirror, turned away from the viewer with her bottom at the centre of the canvas. Richardson claimed her protest was partly at the way men gaped at the painting, which hangs in London’s National Gallery.

19世纪80年代，一群名为“游击队女孩”的女权主义活动家在一幅海报上写道：“

难道女性只有裸体才能进大都会艺术馆吗？

”当时，似乎确实如此：现代艺术展厅里只有不到4%的作品由女性艺术家创作，而76%的裸体艺术品却是女性。艺术界对于女性以及其它少数群体在艺术作品中的歧视毫无愧疚，而“游击队女孩”致力于指明这种不公，并让人们意识到这一耻辱。

“Do women have to be naked to get into the Met Museum?” shouted one billboard poster put up by feminist art activists Guerrilla Girls in the 1980s. At the time it seemed they did – less than 4% of artists in the modern art section of the museum were by women, but 76% of the nudes were female. The Guerilla Girls sought to name and shame the art world for its unapologetic disregard for women and other minorities in art.

2018年，英国艺术家索尼娅·波伊斯用另一种方式抗议艺术品中对于女性的描绘。她在一群围观者面前将名画《海拉斯与水仙女》取下，随后这幅画的展位空了将近一周。《海拉斯与水仙女》由约翰·沃特豪斯创作，画面上有一群半裸的少女，正试图把海拉斯引诱进水仙池。此次抗议引发了强烈的抵制，有人指责这是审查制度、政治正确和极端女权主义的毒瘤。波伊斯则表示：“我的目的是希望让大家认识到，博物馆如何决定参观者看到什么、在何种语境下参观以及对于艺术品的定位。

In 2018, British artist Sonia Boyce took a different approach when she staged a removal, in front of an audience, of Hylas and the Nymphs. The space on the wall, where the painting depicting a clutch of semi-naked young girls luring Hylas into a lily pond had hung, was left empty for a week. “My aim was to draw attention to – and question –  the ways in which museums make decisions about what visitors see, in what context and with what labelling,” Boyce said after the move provoked a furious backlash with accusations of censorship, political correctness and feminist extremism. 

肯特大学艺术史学讲师汉斯·马埃什说：“艺术与色情的界限一直模糊不清。通常情况下，我们认为色情作品有两大特征：它们对于性的描述十分露骨，并且旨在唤起观者的性欲。可纵观历史，跨越文明，可以发现很多伟大的艺术作品都有这两个特点。例如庞培的马赛克图画和印度爱经雕塑，或者古斯塔夫·克里姆特毫不遮掩的画作。

“The boundaries have always been blurred,” says Hans Maes, a lecturer in art history at Kent University. “It‘s generally assumed that pornography has two key characteristics: it’s sexually explicit and its aim is to sexually arouse the viewer. Well, throughout history and across cultures you can find great works of art that share those very characteristics. Think of some of the mosaics in Pompeii, Kama Sutra sculptures or some of Gustav Klimt‘s explicit drawings.”

为了证明这一观点， 2014年，行为艺术家罗伯提斯通过模仿居斯塔夫·库尔贝的画作《世界的起源》来警醒世人。这幅画作现藏于巴黎奥塞美术馆，画面上是对于女性外阴部的特写。随后在同一美术馆，罗伯提斯因在马奈的《奥林匹亚》前裸体摆拍而被逮捕。她正是为了提出这个问题：为什么一种人类裸体的展现形式是艺术，而另一种就是色情呢？

In 2014, performance artist Deborah de Robertis sought to make just this point by exposing herself in front of Gustave Courbet‘s The Origin of the World painting in the Musée d’Orsay in Paris to reproduce the close-up image of a woman‘s genitals. She was subsequently arrested for posing naked in front of Manet’s Olympia, also in the Musée d‘Orsay. Her point was to raise the question: why is one representation of the human body defined as art and another as pornography?

在过去，对露骨图像的审查常常是受到保守主义、宗教价值观以及对道德腐败的恐惧的驱使。与此相反，反对物化性形象的女权主义者要求女性享有平等权利，他们担心物化形象的传播对实现这一目标有百害而无一利。

In the past, censorship of explicit images was often motivated by conservative and religious values and fears of moral corruption. By contrast, feminists who challenge objectifying sexual imagery want equal rights for women, and they fear the spread of objectifying images is detrimental to that cause.

本维努托·切里尼坚持用年轻的处女做模特，一旦他画完就“玷污”她们。埃里克·吉尔利用自己的女儿们当模特，并性侵了她们。梅斯表示：“我们或许应该区分欣赏的环境和创作的环境。如果我们知道一个艺术家虐待妇女，他虐待的倾向也体现在作品中，那么这确实会影响到作品的地位。一旦你意识到这一点，作品本身也会显得肮脏不堪，道德低劣。”

Benvenuto Cellini insisted on using young virgins as models and ‘deflowering’ them once he had finished painting them. Eric Gill used his own daughters as models and sexually abused them. “We should perhaps distinguish between the context of appreciation and the context of creation,” Maes tells BBC Culture. “If we know that an artist abused women and his abusive attitudes are also manifest in the work, then that does affect the status of the work. The work itself will come to appear seedy and morally problematic, once you become aware.”

莎拉·威廉姆森同意：“这确实引人深思。在我们的公共美术馆里有许多关于青春期少女的画作，的确有碍观瞻。但这些美术馆对于这些古典大师及其杰作的介绍描述让我们对它们产生了一种尊敬，使我们不知不觉地接纳了它们。”

“Well it does make you think,” agrees Sarah Williamson. “There are many paintings in our public art galleries of young pubescent girls, which make for uncomfortable viewing. But there‘s a type of reverence to these institutions with their language of Old Masters and masterpieces which we absorb unconsciously and acceptingly.”

玛丽·比尔德在Shock of the Nude节目采访中说：“当然，男性的凝视也存在于人体素描课上。尽管人们用各种方法试图消除凝视，比如在语言上降低性在人体素描中的存在感，但它确实存在。”

“But of course, the male gaze exists in the life-drawing class,” says Mary Beard, who herself posed as part of her investigation in Shock of the Nude. “There are various ways culture tries to remove it and those linguistic devices are used to try to desexualise the encounter. But it‘s there.”

模特弗拉·比彻在一篇关于禁闭期间网上模特生活的博客中写道，做线上模特实际上是我希望避免的事情。这说明了她自己很在意来自男性视角的凝视。另一位线上模特表达了一个更直白的担忧:远离了人体素描画室的约束，参与者可以自由自慰，而不是画画。

“Posing virtually was something I had hoped to avoid,” model Fra Beecher wrote in a blog about life modelling online during lockdown, which illustrated her own awareness of the male gaze. Another life model expressed a blunter concern: that away from the confines of the life-drawing room, participants were free to masturbate rather than draw.

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