The Sleeping Venus (1506–1508), 108×175 cm, oil on canvas, Gemaldegalerie Dresden. In the Florentine school (especially Botticelli), Venus’s innocence, purity, and naivety became symbols of Renaissance civilization and humanistic aesthetic excellence; in the Venetian school, however, she carries strong secular, sensual, and hedonistic sensory elements, reflecting the carefree luxurious life of the Venetians. The sleeping Venus lies in a natural landscape under a clear sky, comfortably resting her eyes or dreaming earthly dreams, full of mystery and imaginative space. The rolling hills and boundless sky seem part of this dream world, unfolding infinite three-dimensional space. She reclines diagonally, occupying nearly half the canvas; her bewitching body, caressing figure, alluring posture, and sensual skin rest on a pillow with one hand supporting her side, while her teasing left hand and crossed legs contrast with the white, rumpled bedspread, creating a highly sensual and visually stimulating effect. Through expressive imagery, chiaroscuro lighting, and soft contrasting colors, the poetic presentation of this exceptionally sensual Venus connects to his immersion of the female body within nature: “Appreciating the supreme beauty of women can only and unquestionably bring physical pleasure” was his most groundbreaking artistic innovation. Thus, Giorgione transformed Western painting’s perspective through new themes of female nudity and landscape. Notably, like Leonardo, he loved music. In Renaissance art, the Florentine school focused on vigorous, muscular male nudes (especially Michelangelo), which stands in stark contrast to the Venetian school’s preference for gentle, sensual female nudes—a divergence that deeply influenced modern Western painting.