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The best of women were virgins, as "the construction of the female chaste body as a sign of fallen humanity's alienation from its own properly angelic nature" only furthered the gap between pure virgins and women of a lower tier who were virgins no longer. [11] In The Romaunt of the Rose, "women are synonymous with sensual desire." The ...
Woman wearing a one-piece bliaut and cloak or mantle, c. 1200, west door of Angers Cathedral.. The bliaut or bliaud is an overgarment that was worn by both sexes from the eleventh to the thirteenth century in Western Europe, featuring voluminous skirts and horizontal puckering or pleating across a snugly fitted under bust abdomen.
The subsequent evolution of the female nude was sporadic, with hardly any full nude figures, but partial or with the technique of draperie mouillée ("wet cloths"), light dresses and attached to the body, such as the Aphrodite of the Ludovisi Throne, the Niké of Paeonius (425 BC), or the Venus Genetrix of the Museo delle Terme in Rome.
The fur lining of her dress is painted in a range of greys running from almost pure white to pure black. Rogier gave the fur a textured look by painting stripes parallel to the line of the dress and then feathering the paint before it dried. The gold on the cloth is rendered with a variety of impasto, grid and dots of varying colour and size. [19]
The vagina represents a powerful symbol as the yoni in Hindu thought. Pictured is a stone yoni found in Cát Tiên sanctuary, Lam Dong, Vietnam.. Various perceptions of the vagina have existed throughout history, including the belief that it is the center of sexual desire, a metaphor for life via birth, inferior to the penis, visually unappealing, inherently unpleasant to smell, or otherwise ...
From ancient history to the modern day, the clitoris has been discredited, dismissed and deleted -- and women's pleasure has often been left out of the conversation entirely. Now, an underground art movement led by artist Sophia Wallace is emerging across the globe to challenge the lies, question the myths and rewrite the rules around sex and the female body.
In the medieval period, Islamic norms became more patriarchal, and very concerned with the chastity of women before marriage and fidelity afterward. Women were not only veiled, but segregated from society, with no contact with men not of close kinship, the presence of whom defined the difference between public and private spaces. [100]
In addition to the striking phallic tree imagery in late medieval and Renaissance art, the symbols have roots that could be traced back to Roman times, especially through the figure of Priapus. As Moser notes, “the phallus itself were magic, able to exist at the center of the area of the obscene without taint or injury” (p. 25).