#kouroi

[casskeeps]

aristodikos kouros

basic information

name: aristodikos kouros

date: 510-500 bce (very late archaic)

artist: unknown

function: grave marker

size: just under 2m

original, reconstructed, or copy: original, parian marble

subject matter

as per most archaic kouroi, we assume that the aristodikos kouros is not a likeness of the person whose grave he marked. as typical for kouroi, he is a nude male fiugre, likely a young adult; the kouros appears to depict an idealised athletic male figure.

context

we are at the end of the archaic period here !! this kouros represents one of the major shifts in the attitudes in greek art - this is where sculptors started to realise that highly rigid poses and more naturalistic forms don't mix particularly well.

composition

the pose of this statue is still very much typical of a kouros; the archaic "walking pose" prevails, and the arms are still firmly at the sides. this pose looks uncomfortably stiff - much more so than it seems for earlier, more abstractly represented sculpture. this detracts from the naturalism of the statue as there is a disconnect between the less naturalistic pose and the more realistic anatomy.

the aristodikos kouros demonstrates much more anatomical accuracy and understanding than earlier kouroi; the muscles are more accurately placed, and complex forms are created using rounded and curved planes instead of incisions. this is particularly evident in the depiction of the shins; the sculptor has precisely carved out the shin bone, allowing it to appear as an independent anatomical form from the calf. the facial anatomy, although damaged, also demonstrates a much more developed understanding of the human body, especially in the soft curve of the jaw, which appears closer to early classical statues than earlier archaic kouroi. there is one point of interest that is particularly unique, however, and that is the star-shaped figure on his groin. it adds a little bit of visual interest and flair to the statue without distracting significantly from the rest of the anatomy.

again, the nude male figure prevails! aristodikos is again an athletic male figure, although slightly less curvacious than the anavyssos kouros.

we can't make out much of his facial expression due to him being run over by a plough, but the amount that we can see appears serene and relaxed - the archaic smile is starting to lose its chokehold on sculpture.

the proportions of this statue are mostly well balanced, which realistic musculature and width of limbs. the head is undersized slightly, but this does not detract massively from the statue.

stylistic features

we are leaving behind the traditions of the archaic period and starting to give way to the early classical schools of art; aristodikos displays very few abstract shapes that are not clearly intended, and his anatomy is largely realistic, without the common struggles of insectoid and oversized eyes.

scholars

osborne, re: grave markers: "those who pass by ... find in the smiling but stony gaze an image of theiir own mortality".

woodford: "looks so much like a living man that the way he stands now appears unnaturally stiff"

extra information

runshaw classics

[ritualware]

[knavishcarseat]

A few important characters in a section of my homebrew TTRPG, Project Ozedas! (more about them under the cut!)

These are really just glorified sketches, but I'm still rather satisfied with how the designs themselves came out, especially since I'm still not super familiar with human anatomy! Curi and Kouroi (middle and right) are identical twin brothers, so it was really fun to showcase their personality and lifestyle differences in their appearances while also keeping them similar enough to look closely related! Laina (left) is a partner of Curi's, and both of them are also dating a fashion designer, Noe, although currently in the campaign the polycule's relationship is pretty strained.

Curi is a reporter/journalist who works for Precilon, the company that runs the planet Ozedas. He was in a work-related accident a few years back in which he lost his right eye, after which he became even more obsessed with his career. He likes to gather information like a person would accumulate collectibles. It helps him feel in control.

Kouroi currently works as a pseudo-bodyguard for his brother, and keeps an eye on him whenever Curi is pursuing a lead that's riskier than he'd like. He's not very talkative and doesn't usually seem too impressed with Curi's antics, but they do collaborate on shenanigans somewhat frequently (and did so even more often when they were kids).

Laina runs a little coffee shop in Hestia, the city that they all grew up in. She has legal custody over two non-human wards, Lalage and May, and refers to them as her kids even though there's only about a ten-year age gap between them. Laina is VERY protective over her kids and her partners, and is incredibly distrustful of strangers (generally speaking; she does run a public business, after all). That being said, she's also always had a soft spot for people who are struggling through life. She relates to that feeling intimately, and helps when she can.

[sangmusee]

kouros, c. 590-580, the met new york

[kouros-herc]

Hercules Georgios Kouros

[whencyclopedia]

Ancient Greek Sculpture

The sculpture of ancient Greece from 800 to 300 BCE took inspiration from Egyptian and Near Eastern monumental art, and evolved into a uniquely Greek vision of the art form. Greek artists captured the human form in a way never before seen where sculptors were particularly concerned with proportion, poise, and the idealised perfection of the human body.

Greek sculptural figures in stone and bronze have become some of the most recognisable pieces of art ever produced by any civilization and the Greek artistic vision of the human form was much copied in antiquity and has been ever since.

Influences & Evolution of Greek Art

From the 8th century BCE, Archaic Greece saw a rise in the production of small solid figures in clay, ivory, and bronze. No doubt, wood too was a commonly used medium but its susceptibility to erosion has meant few examples have survived. Bronze figures, human heads and, in particular, griffins were used as attachments to bronze vessels such as cauldrons. In style, the human figures resemble those in contemporary Geometric pottery designs, having elongated limbs and a triangular torso. Animal figures were also produced in large numbers, especially the horse, and many have been found across Greece at sanctuary sites such as Olympia and Delphi, indicating their common function as votive offerings.

The oldest Greek stone sculptures (of limestone) date from the mid-7th century BCE and were found at Thera. In this period, bronze free-standing figures with their own base became more common, and more ambitious subjects were attempted such as warriors, charioteers, and musicians. Marble sculpture appears from the early 6th century BCE and the first monumental, life-size statues began to be produced. These had a commemorative function, either offered at sanctuaries in symbolic service to the gods or used as grave markers.

The earliest large stone figures (kouroi - nude male youths and kore - clothed female figures) were rigid as in Egyptian monumental statues with the arms held straight at the sides, the feet are almost together and the eyes stare blankly ahead without any particular facial expression. These rather static figures slowly evolved though and with ever greater details added to hair and muscles, the figures began to come to life.

Slowly, arms become slightly bent giving them muscular tension and one leg (usually the right) is placed slightly more forward, giving a sense of dynamic movement to the statue. Excellent examples of this style of figure are the kouroi of Argos, dedicated at Delphi (c. 580 BCE). Around 480 BCE, the last kouroi become ever more life-like, the weight is carried on the left leg, the right hip is lower, the buttocks and shoulders more relaxed, the head is not quite so rigid, and there is a hint of a smile. Female kore followed a similar evolution, particularly in the sculpting of their clothes which were rendered in an ever-more realistic and complex way. A more natural proportion of the figure was also established where the head became 1:7 with the body, irrespective of the actual size of the statue. By 500 BCE Greek sculptors were finally breaking away from the rigid rules of Archaic conceptual art and beginning to reproduce what they actually observed in real life.

In the Classical period, Greek sculptors would break off the shackles of convention and achieve what no-one else had ever before attempted. They created life-size and life-like sculpture which glorified the human and especially nude male form. Even more was achieved than this though. Marble turned out to be a wonderful medium for rendering what all sculptors strive for: that is to make the piece seem carved from the inside rather than chiselled from the outside. Figures become sensuous and appear frozen in action; it seems that only a second ago they were actually alive. Faces are given more expression and whole figures strike a particular mood. Clothes too become more subtle in their rendering and cling to the contours of the body in what has been described as 'wind-blown' or the 'wet-look'. Quite simply, the sculptures no longer seemed to be sculptures but were figures instilled with life and verve.

Continue reading...

[kebriones]

You can't tell me kores and kouroi aren't made for horror with their creepy little fake smiles and their little leg. What if they move the leg. what if every time you turn your back to him a kouros is taking a little step towards you. He's gonna eat your soul.

[eddy25960]

Tres Kouroi ático

La imagen humana de tamaño real entró en el arte griego con estatuas de mujeres jóvenes (korai) y hombres (kouroi) entre los siglos VII y VI antes de Cristo.

Tres Kouroi ático desde 540-530 BC

Figura 1 - el llamado Apolo de Mónaco en mármol pario - h 2.08 m - Glyptothèque de Munich, D

Figura 2 - Kouros Volomandra - mármol parisino - h 180 cm - Museo Arqueológico Nacional de Atenas

Figura 3 - Kouros Anavyssos en mármol parisino - 194 cm - Museo Arqueológico Nacional de Atenas - Desde la Antigua Grecia por Furio Durando

[hexjulia]

the tense kouroi posture with the stupid balled little fists/unnatural smile is exactly what my body involuntarily does when i'm ill at ease i think. lmao.

[eucanthos]

Aristodikos Kouros

Κούρος Αριστοδίκου

The last kouros (naked youths) sculptural series, 510-500 B.C. Parian marble 1,90 m (without base) Collection National Archaeological Museum of Athens

Funerary Kouros, found in Attica's inland on the tomb of Aristodikos, a young Athenian aristocrat.

A key work in the development of sculpture, marking the transition between the end from the archaic era and the classical era.

The plastic rendering of the muscles, the movement of the arms and the general vigor of the statue places it at the end of the kouroi series

http://odysseus.culture.gr/h/4/eh430.jsp?obj_id=4583

https://en.wikipedia.org/wiki/File:NAMA_3938_Aristodikos_Kouros.JPG

https://www.lifo.gr/culture/arxaiologia/i-istoria-toy-koyroy-aristodikoy-poy-stathike-orosimo-tis-ellinikis-tehnis

[casskeeps]

anavyssos kouros

basic information

name: anavyssos kouros (kroisos kouros)

date: 530-520 bce

artist: unknown

function: grave marker

size: just under 2m tall

original, reconstructed or copy: original naxian marble

subject

another kouros ! this lovely lad is not a likeness of the person whose grave he is marking (dead kroisos, whom raging ares destroyed while he was on the front ranks), but is instead a representation of idealised male youth and vitality.

context

i haven't been able to find any specific information to find on which front ranks dead kroisos was fighting, but in the high archaic period, sculptors were becoming much more interested in portraying naturalistic musculature and anatomy, instead of the highly idealised and geometric

composition

the anavyssos kouros' pose is very typical for statues of the period - the left leg forward, with the right just behind. this is also known as the archaic "walking pose", and serves to balance the statue and distribute the weight more evenly - good for a material like marble, which has a low tensile strength. the arms are by the sides with the fists clenched, another typical feature of archaic kouroi.

however, there is a key difference between the anatomy of previous typical archaic kouroi and the anavyssos kouros: the forearms are distorted in order to make the shape follow the curvature of the thighs. this is interesting for a few reaons - some earlier kouroi used a full, distinct bridge between the wrists and the thighs, but the sculptor of this kouros has chosen to only bridge the gap between the arms and the thighs at the medial phalanges - this makes the support much less obvious, enabling the statue to appear much more realistic and lifelike. the musculature of the kouros is also notably more naturalistic than previous sculptures, with its muscular tone being demonstrated by curves and rounded planes, such as the calves and iliac crest. these rounded planes demonstrate a significant step away from the geometricism of earlier sculpture, and the sculptor has paid attention to fine anatomical detail such as the nipples, tear ducts, and navel.

there has been very little development in the content of these statues; even throughout the later periods, nude and idealised men remain a prevalent subject in greek art, particularly in free-standing sculpture. this may be due to the difficulties in portraying narratives in isolated free standing sculpture.

the anavyssos kouros has quite an enigmatic expression; the archaic smile remains a staple of archaic art, but the mouth does not curve upwards as would be properly expected in a smile. instead, the anavyssos kouros' mouth has pronounced mesolabial folds - expected from manipulation of the muscles surrounding the mouth, but the lips of the kouros remain straight. the eyes are wide, large, and open, with similar large painted irises to the peplos kore, but do not protrude from the head markedly.

the sculpture is well-proportioned; while the musculature is clearly idealised, the overall proportions remain clearly balanced.

stylistic features

there is more distinct stylised depiction of human forms in his hair - he has typical hair for a kouros, a symmetrical arrangement of beaded braids with volute curls around the hairline.

the archaic smile makes yet another appearance, and the large eyes continue from earlier statues, however there has been significant development in the presentation of the face. the features are less over-emphasised, which makes the overall balance of the features much more naturalistic and aesthetically pleasing.

scholars

woodford: "curved masses suggestive of soft flesh rather than hard stone"

boardman: "life was beginning to be as important a factor as geometry"

osborne: "the male body has been enriched by moulding, rather than simply inscribing, anatomical features"

extra sources

smarthistory (dr bulger)

online reading

[bluehome91]

Have u ever seen this ? The Poseidon Temple in the outskirts of Athens.

The Temple of Poseidon is an ancient Greek temple on Cape Sounion, Greece, dedicated to the god Poseidon. There is evidence of the establishment of sanctuaries on the cape from as early as the 11th century BC.

Sounion's most prominent temples, the Temple of Athena and the Temple of Poseidon, are however not believed to have been built until about 700 BC, and their kouroi (freestanding Greek statues of young men) date from about one hundred years later.

The material and size of the offerings at the Temple of Poseidon indicate that it was likely frequented by members of the elite and the aristocratic class.

#sunset #sunsetlovers #sounio #visitgreece #athens

[planet-gay-comic]

In Verde Antique Marble Carved Love

In the ancient world, homoerotic representations were often seen as normal and even ideal. This is reflected in numerous artworks and sculptures that depict same-sex love and affection. A deep understanding and appreciation of these art forms offer insights into the cultural and social norms of antiquity.

One of the most notable examples of such depictions are the statues of "Eros and Thanatos" from Greek mythology. These statues depict the god of love (Eros) and the god of death (Thanatos) in a loving embrace, suggesting an acceptance and admiration for the relationship between these two deities.

Another famous artwork is the "Alexander Mosaic" from Pompeii, which shows Alexander the Great and his lover Hephaestion in an intimate pose. This depiction underscores the recognition and possibly even the veneration of the relationship between the powerful Macedonian king and his companion.

The statues of the Kouroi, archaic Greek sculptures of young men, are often interpreted as representations of the beauty and ideal of male youth. Some researchers also see them as homoerotic symbols, indicating a broader acceptance of same-sex relationships in Greek society.

In Pompeii, a room with frescoes was discovered, often referred to as the "Island of Love". These frescoes depict erotic scenes, including same-sex relationships, suggesting an open attitude towards various forms of love and desire in Roman culture.

The "Warrior of Capestrano", an ancient statue from the 6th century BC from Italy, depicts a warrior in a pose that some interpret as homoerotic. This depiction might indicate an acceptance of homoerotic themes in ancient Italian art.

These various examples from ancient art demonstrate that homoerotic depictions were widespread and accepted in antiquity. They offer valuable insights into the diversity and complexity of human relationships in the past. It is important to view these works in the context of their time and understand that interpretations of these artworks can be complex and are subject to debate among historians and art experts.

ext supported by Chat GPT-4 Images generated with DALL-E, overworked SDXL-1.0 (OpenDalleV1.1_XL) with inpainting and composing.

[sangmusee]

zeus of artemisium, c. 460 BC, national archaeological museum athens

[k0ur0i]

but we can't go back to how things used to be.

KOUROI | furaffinity

[whencyclopedia]

Cleobis and Biton

Two over-life-size Archaic kouroi (6.5 ft / 2 m) are housed at the Delphi Museum, and date to c. 580 BCE. Their names (Cleobis and Biton) are actually written on their bases, and the sculptor is given as Polymides of Argos: such inscriptions are unusual for this early date. They are ideal representations of strength and masculinity, in the Peloponnesian style.

The myth of Cleobis and Biton is told in Herodotus, 1.31. The two sons carried their priestess mother by cart in place of oxen. They travelled from Argos to the Argive Heraion, some 45 stadia.

At their arrival they collapse, and their mother prays to Hera that they may die in their sleep - the easiest death for mortals. Herodotus tells this story as part of Solon's answer to Croesus' questioning as to who the happiest man is.

μετὰ ταύτην δὲ τὴν εὐχὴν ὡς ἔθυσάν τε καὶ εὐωχήθησαν, ἐν αὐτῷ τῷ ἱρῷ οἱ νεηνίαι οὐκέτι ἀνέστησαν ἀλλ᾽ ἐν τέλεϊ τούτῳ ἔσχοντο. Ἀργεῖοι δὲ σφέων εἰκόνας ποιησάμενοι ἀνέθεσαν ἐς Δελφοὺς ὡς ἀριστῶν γενομένων.

After this prayer they sacrificed and feasted. The youths then lay down in the temple and went to sleep and never rose again; death held them there. The Argives made and dedicated at Delphi statues of them as being the best of men.

Herodotus, 1.31.5

(the full passage in translation and original can be found here)

Perhaps, in this case, there is some truth to Herodotus' stories…

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