エロかったルネサンス - Living, Loving, Thinking, Again

Jonathan Jones*1 “The great art cover-up: Renaissance nudity still has power to shock” https://www.theguardian.com/artanddesign/jonathanjonesblog/2016/jul/25/renaissance-art-nudity-cover-up-sistine-chapel-leonardo-censorship

剣橋のフィッツウィリアム美術館*2 所蔵の或るルネサンス期の写本の挿絵で、アダムとイヴは無残にも「スカート」を穿かされていた。アダムとイヴが裸であることには〈原罪〉以前の無垢という宗教的含意があるにも拘らず、所有者はふたりの裸に不穏当さを感じた。ジョーンズ氏によると、これは唯一の例ではなく、中には大家の作品であるにも拘らず破壊されてしまったのもある。例えば、ダ・ヴィンチ *3の「レダと白鳥」；

It’s far from the only incident where Renaissance art has been considered so sensual and provocative that it has been censored, or even destroyed. Works of art get lost for many reasons, but there is a suspiciously high destruction rate for those involving nudity. Leonardo da Vinci’s Leda and the Swan was one of the first openly carnal depictions of myth in art, delighting in a big-bosomed, curvy-hipped Leda*4. Today, this painting is only known through drawings and copies. A French owner probably destroyed it deliberately.

　
ミケランジェロも；

Michaelangelo gives Leda the face of his male assistant Antonio Mini and presses her/his lips to the tip of the swan’s hard beak. This suggestion of fellatio may be one of the factors that pushed a prude to destroy the painting. Even a copy that survives in the National Gallery has a controversial history: in the 19th century, it was kept in the director’s office because it was considered too disgusting to be on public view.

或いは、ブロンズィーノ*5の「ヴィーナスとキューピッドによる寓意画（愛と勝利の寓意）」*6。
ルネサンス美術の官能性が抑圧され始めるのはミケランジェロの死の直後から。ルネサンスと対立的に語られる宗教改革。プロテスタントの中でも特にカルヴィニズムはあらゆる感覚的な快楽を抑圧するので、ピューリタンがルネサンス美術の官能性を目の敵にしたというのはわかりやすいが、抑圧はカトリック（対抗宗教改革）の側でも起こっている；

Why has so much great Renaissance art been censored over the centuries? The nudity of Eve in the 1505 manuscript at the Fitzwilliam reflects the classical sensuality of the Renaissance. This explosion of the carnal in art, when Europe rediscovered the beauty of the nude*7 and the freedom of ancient Greek and Roman thought, crashed into religious revivals, iconoclasm and holy war during the Reformation and counter-Reformation, not to mention the later hypocrisies of the Victorian age.
Religion turned against the sexual freedom of Renaissance art. When it was unveiled in the Sistine Chapel, Michelangelo’s Last Judgment*8 was accused of being more fit for a gay bathhouse than the Pope’s church. As soon as Michelangelo died, a painter was hired to cover the buttocks of his flying nudes with “decent” draperies. Many of these idiotic veilings are still there – the Vatican has not allowed modern restorers to remove them.
The same goes for Michelangelo’s statue of the Risen Christ*9 in Santa Maria sopra Minerva in Rome, which wears a ridiculous loincloth added after Michelangelo’s death. It’s all gratifying proof of the power and life of great art. The Renaissance is still dangerous after all these years. Just ask its censorious enemies.