Beneath the Surface

Part 3

As Professor Harlan moved on, he asked a more controversial question, "Now, some critics argue that the Renaissance idealized human beauty to an unrealistic degree, turning it into an almost unattainable standard. Do you think this had a negative impact on art and society at the time?"

The room fell quiet for a moment before a student near Yok, a guy named Malcolm, spoke up. Malcolm was tall, with dark skin and dreadlocks that hung over his shoulders. He had a sharp, articulate way of speaking. "I think that the Renaissance's focus on beauty, particularly in the form of the white, European male, definitely had a negative impact. It established a standard of beauty that excluded other races, women, and those who didn't fit the mold."

Several students murmured in agreement. Yok, leaning back in his chair, his hand still loosely holding his pen, raised an eyebrow. He listened as the discussion continued, Malcolm going on about how Renaissance art laid the foundation for exclusionary beauty standards that persisted for centuries.

Yok, never one to shy away from saying what was on his mind, raised his hand. When Professor Harlan called on him, he straightened up in his seat.

"I disagree," Yok said plainly, his voice cutting through the room. "I don't think it's that simple. Sure, the Renaissance idealized beauty, but it was more about celebrating the human form in general, not about excluding people. You can't judge those artists by today's standards-they were products of their time. They weren't intentionally creating harmful standards. They were trying to elevate humanity, to show us at our best."

A few heads turned toward Yok, some students exchanging glances. Malcolm frowned, clearly not agreeing with Yok's perspective.

"But that's the problem, Yok," Malcolm argued, his tone sharpening. "You can't just excuse it because it was a 'product of its time.' The fact is, that period set the stage for centuries of exclusion in art. They may not have done it consciously, but that doesn't mean the impact wasn't there."

Yok's eyes narrowed slightly, his calm demeanor masking the intensity beneath. "Look, I'm not saying there wasn't any exclusion. But the point of Renaissance art was to explore what humans could achieve-intellectually, artistically, and physically. They wanted to show people at their most aspirational, not create a model for everyone to live up to."

Malcolm folded his arms, his jaw set. "That's easy for you to say. But you're ignoring the fact that for people who didn't fit into that mold, the message was clear: you're not part of this celebration of humanity."

The tension in the room rose as students leaned forward, sensing the brewing conflict. Yok could feel the weight of their stares on him, but he didn't flinch. He was used to being misunderstood, used to having his opinions met with resistance. But that didn't stop him from speaking his mind.

Before the argument could escalate further, Professor Harlan stepped in. "Alright, alright, let's keep it civil," he said, raising a hand to calm the room. "Both Malcolm and Yok raise valid points. The Renaissance did, indeed, idealize certain forms of beauty and humanity, but it's also important to consider the context in which these works were created. Our job is to study these pieces critically, not necessarily to pass judgment."

The professor's words diffused some of the tension, though the air still buzzed with quiet murmurs. Yok glanced down at his notebook, the rough sketch of a figure barely visible beneath his pencil strokes. He didn't regret what he said, but he could tell from the looks around him that some of the students were put off by his perspective.

As the class moved on, Yok leaned back in his chair again, tapping his pen against his notebook absentmindedly. He wasn't one to care about fitting in, but he couldn't shake the feeling that the conversation had hit a nerve-both with Malcolm and with himself.