<b>A Discourse on the Allegory of the Nude Female Forms in Paintings: Reading their Contexts for Pedagogical Learning</b>

This paper explores the roles of ‘female nude’ in paintings. It argues on the prevailing roles symbolisms were used to characterize ideas: looking at their symmetric relationships from social, monarchical, personal and mythological delivery before the period of the Willendorf’s discovery in Austria, the Etruscan period, up to the High Renaissance, and the Modern periods, ‘fetishism’ of the female body – gained notoriety amongst certain classes. Its creativity of espoused mainly patronage, but the practice was gradually becoming eroded with subjectivity delimiting influences of reimagining mythological happenings. Thus, Jacques Lacan’s theory of “the gaze” was mentioned to cause a rationale for the ‘female nude’ forms. In contrast, the triangulation of the “recognition theory”, and the Epistemic theory were respectively adopted, underscoring the functionalism of each painting as content enabled beyond ‘nudity’. The paper concludes that paintings of these kinds do not merely exist as works of art without leaving messages to ponder, thus heightening their role as cognitive learning devices.