Archaic and Classical Greek Sculpture: Kouros, Kore, and Polykleitos
Kouros and Kore: Archaic Period Sculpture
Kouros (c. 530 BC) and Kore (c. 510-500 BC) are prime examples of Archaic Greek sculpture. Characteristics:
- Material: Parian marble
- Technique: Carving
- Form: Exempt (free-standing)
- Type: Often found with traces of polychromy (painted)
Archaic Greece (8th-6th centuries BC) saw a transition from rural life to increased commercial importance, with the rise of a mercantile class and tyrannies. Olympia became a significant center for public opinion.
Art, magic, and religion were intertwined. Poetry, music, art, and philosophy flourished. Key features of Archaic sculpture:
- “Archaic smile”
- Advanced, extra-ocular, almond-shaped eyes
- Frontality
- Stiff posture, arms close to the body
- Muscular definition
- Egyptian influence
- Unnaturalistic knees
- Stylized hair and dress
Interpretation: Kouroi and Korai may represent gods, athletes, or serve as funerary memorials. The naked bodies of Kouroi reflect the athletic ideal, while Korai, often clothed, may represent priestesses.
Function:
- Representation of a god
- Offering
- Commemoration of a victorious athlete
- Funerary statues
Polykleitos’ Doryphoros: The Canon of Proportions
The Doryphoros (Spear-Bearer) represents a young athlete holding a spear. It embodies the theoretical concepts of Polykleitos’ canon. Polykleitos primarily created representations of athletes for wealthy families. The original bronze sculptures are known through marble copies.
Contrapposto: The Doryphoros exhibits contrapposto, a balanced asymmetry. The right arm and left leg are relaxed, while the left arm and right leg are tensed. The right leg bears the weight, while the left leg is free and slightly raised. The head is tilted and turned to the right, and the torso and hips rotate slightly. This dynamic pose breaks from the rigidity of Archaic Kouroi.
Symmetria: Polykleitos applied a system of ideal proportions, or Symmetria, to the male nude. The sculpture does not depict a specific action but rather a body in a state of relaxed tension.
Polykleitos’ Diadumenos: Refinement of the Canon
The Diadumenos depicts a young athlete tying a ribbon around his head, symbolizing victory. It presents a variation on the Doryphoros, with a softer, more plastic, and human form. The arms are raised, and the head is tilted. The body is more rounded and natural, showing a reflective attitude. The athlete is more focused on the action, exhibiting a humanized attitude. It retains the Symmetria, contrapposto, canon, and idealism seen in the Doryphoros.
Praxiteles’ Hermes and the Infant Dionysus: Late Classical Innovation
Praxiteles’ Hermes and the Infant Dionysus (c. 350-340 BC) is a free-standing marble sculpture from the Late Classical period. It was likely an image for a shrine dedicated to Dionysus.
Theme: Hermes, the messenger of the gods, carries the infant Dionysus to the nymphs, protecting him from the wrath of Hera. The child reaches for a bunch of grapes held by Hermes.
Praxitelean Curve: The sculpture is characterized by the “Praxitelean curve,” an S-curve that defines the body’s contour. This creates a sense of upward movement and dynamism.
Evolution from Contrapposto: While rooted in the contrapposto of the Doryphoros, Praxiteles introduces a psychological relationship between the figures. The sensual and dreamy gaze of Hermes introduces a new sensitivity and emotional expression into Greek art. This style is marked by flowing contour lines, rhythmic body disposition, and elegant expression. This sculpture represents a romantic pause and a precursor to the artistic innovations of Hellenism.