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73-442: The female sculptural counterpart of the kouros is the kore . The Ancient Greek word kouros ( κοῦρος ) refers to "youth, boy, especially of noble rank." When a pubescent was received into the body of grown men, as a grown Kouros , he could enter the initiation fest of the brotherhood ( phratry , φρατρία ). Apellaios was the month of these rites, and Apollo ( Apellon ) was the "megistos kouros" (the greatest Kouros). The word

146-524: A polis . How elaborate the statue was, varied. Korai demonstrated individual wealth and status because they were fairly expensive to create and limited to the upper class. To indicate their wealth, elite Greeks had their statues decorated in paint and jewels. An example of a kore used as a votive offering is the Antenor Kore that was dedicated by Nearkhos . Ancient Greeks also used korai for funerary purposes. They were grave markers and offerings for

219-476: A deep curve. Forearm and arm sometimes correctly semi- pronated ; both directed towards body. Arms sometimes arched towards body below the armpit. Big toe projects a little further or same as second toe. Four smaller toes and toe nails curve gently downwards. "Astonishingly uniform" the products of this period are found across the Greek world in large quantities. This group is named after the best preserved example of

292-424: A knob in a circular groove. Serratus magnus is not indicated. The shoulder blades are outlined by grooves on the surface of back. The erector spinae attachment to posterior part of the iliac crest is sometimes indicated by grooves in the lumbar regions. Forearm is supinated , with palm towards the body. Arms often separated from body between armpit and hand. Thumbs are large. Vastus internus descends to about

365-494: A product of foreign influence. For an external cause for change, possible sources of influence have been cited, such as Egypt, Anatolia and Syria, with the strongest case made for Egypt. It is known that the Greeks had longstanding trade relations with Egypt prior to the founding of the Greek entrepôt of Naukratis in the mid-7th century, where the Greeks could have learned Egyptian sculpting methods. The work of Guralnick along with

438-504: A result, she has identified two strains within methods of proportioning in sixth century kouroi, where the majority follow the general line of evolution from the foreign model towards an idealized human norm. According to Hurwit & Campbell: "Kouroi apparently first appeared on the island of Naxos, since most early examples are in Naxian marble". Kouroi are beardless, take a formulaic advancing posture, and are most often nude. Taking from

511-638: A semicircular arch. The rectus abdominis, now reduced in number to two, with the top one incorporated into lower boundary of thorax. There is a small raised plane caused by projection of xiphoid appendage sometimes observable at lower end of sternum. Navel has fold of skin above in most examples. The lower boundary of abdomen assumes shape of semicircle, and the upper edge of torso with two concave curves becomes regular in form. Forearm and hand correctly pronated. Arms sometimes held free from body. Flanks; occasionally at first later regularly, flank and buttock of supporting leg rise in conformity with action. This period

584-745: A teacher to Bryn Mawr, where she spent most of her career. In 1977, she was named Rhys Carpenter Professor of Classical and Near Eastern Archaeology, a post she held until her retirement in 1994. In 1988, she won the Gold Medal of the Archaeological Institute of America . She was elected to the American Philosophical Society in 1993. She married physical therapist Henry W. Ridgway in 1958. Ridgway died in Haverford, Pennsylvania on 19 October 2024, at

657-733: A young child she lived in Sicily and then in Ethiopia and Eritrea , where her father had been stationed during World War II. When her father was captured by the British in World War II and sent to a prisoner-of-war camp in Kenya, she secured a job as a telephone operator at police headquarters in Asmara (Eritrea) where she learned to speak English. After World War II , she studied classics at

730-607: Is also attested in Linear B , a syllabary system of writing used to record the Mycenaean Greek dialect of the Hellenic languages . The word ko-wo ( * κόρϝος , * kórwos ) is attested in tablets from Pylos and Knossos , and could mean "the sons of the women recorded in those tablets". The term kouros was first proposed for what were previously thought to be depictions of Apollo by V.I. Leonardos in 1895 in relation to

803-406: Is another example of polychromy being an important part of the korai. When the sculptor designed this kore, the marble was incised, creating a light relief of a pattern. This is evident with the rosette and meander patterning in the dress. The technique used was common among sculptors when planning out the coloring of the finished product. Color was also an indicator of wealth. The more prestigious

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876-407: Is cubic with details incised, and their anatomy is only partially understood. Harmony and expressive pattern are the goal, and as such the proportions are abnormal. The torso is four-sided and flat, the back is higher than chest with the vertebral column expressed as a straight line. The skull is undeveloped; flat at the back and often on top. The ear is carved in one plane, and highly stylized. Tragus

949-658: Is framed by the stasis of the Peisistratid era and the beginning of Athenian democracy and the Persian war. The upper limit of this group may be fixed by the sculpture of the temple of Apollo, Delphi. Architecturally earlier than the Hekatompedon of Athens the Delphi temple has a probable date of c.  520 BCE, thus the kouroi of its pediment which betray the swelling trapezium and semicircular lower boundary of

1022-423: Is knob like, either on cheek or lobe. Antitragus is not indicated. The eyes are large and flat, canthus is not marked, lachrymal caruncle is not indicated. The mouth is horizontal, with lips on same plane, and corners of mouth forming triangular depressions. Hair is arranged in parallel beaded tresses, which rarely radiates from the vertex . The Sterno-mastoids , when marked, are indicated by grooves running to

1095-497: Is often not indicated, this results in a continuous hollow groove or run above the clavicle. There is an attempt to indicate the backward curve of clavicle. Groove along linea alba is sometimes continued below the navel. The lower boundary of thorax arch is indicated. In the flanks the swelling of the external part is well developed. Lower boundary of abdomen assumes shape of small semicircle or deep curve. The erector spinae always indicated as modelled shape. Generally hand and forearm

1168-602: Is provided by the dedication of Rhombos on the Moschophoros, which may belong to the same time as a decree referring to the Panathenaia of 566. The Moschophoros is stylistically similar to early in this group giving us an approximate upper limit of 570. Additionally the terracotta kneeling boy found in a well in the Agora and dated by its black-figure pottery sherd stratum to circa 550 shares the flat almond eyes, absence of

1241-466: Is semi-pronated. Hands are no longer attached to body but joined by short supports. The metacarpal bones are sometimes indicated. The bulge of the vastus internus increases. Toes are no longer parallel but do not recede along a continuous curve. Toes and nails point upwards. The articulation of joints is well rendered. Sometimes the flank of the advanced leg is placed forward and higher than receding leg. The characteristics of this group can be observed on

1314-500: Is sometimes indicated. Lips curved upwards only in early examples, the upper lip protrudes markedly over the lower and lips are well shaped. Hair is generally short or rolled up behind, it radiates from a point near vertex and carved in wavy strands. The structure of neck is now correct. There is an indication of swelling of trapezium on the outline of shoulder, becoming more pronounced over time. Clavicles assume an s-shape and lose themselves in shoulders. The lower boundary of thorax assumes

1387-523: Is that not all of the statues share similar characteristics. If they represented a specific deity, then each kore would share traits to identify them as that particular individual. This became evident about the korai found at the Acropolis in Athens. Not all of the korai could be identified as Athena, the patron goddess, because of their unique characteristics. According to Henri Lechat, in order for all of

1460-504: Is the modern term given to a type of free-standing  ancient Greek sculpture  of the  Archaic period  depicting female figures, always of a young age. Kouroi  are the youthful male equivalent of kore statues. Korai show the restrained " archaic smile ", which did not demonstrate emotion. It was the symbol of the ideal, transcending the hardships of the world. Unlike the nude kouroi, korai are depicted in thick and sometimes elaborate drapery. As fashions changed, so did

1533-463: The Kritios Boy , c.  480 BC. The absolute chronology of the kouros form is uncertain; none of the sculptures have secure dates. There is a strong homogeneity across the various regional schools: where anatomical innovations were adopted they seem to have spread quickly amongst the different workshops so that "regional distinctions become merged in a common progression". Consequently,

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1606-592: The Siphnian Treasury which is dated on external evidence before 525 BCE, therefore allowing time for the maturation of the style we can date the beginning of this group to, roughly, a generation prior. The earliest is perhaps the Munich kouros (Glyptothek 169) judging by the rendering of some of the muscles. Another significant Attic kouros in this style is the Anavyssos; its base reads: Two others are

1679-629: The University of Messina , where she obtained her degree in classics in 1953. An archaeology scholarship and Fulbright Travel Grant allowed her to continue her studies at Bryn Mawr College in Pennsylvania , where she came under the tutelage of Rhys Carpenter . At the end of her MA , she wrote her thesis on Archaic sculpture at the American School of Classical Studies at Athens . She received her Ph.D. in 1958 and returned as

1752-403: The helix , which is directed backwards ( crus helicis ), is often prominent, and joined with the upper end of tragus. The antitragus is sometimes tentatively indicated, though wrongly placed. The anterior triangle of the neck is now better understood. Navel generally modelled as a depression. Indication of external oblique bulging over iliac crest. The lower boundary of abdomen occasionally forms

1825-410: The sternal notch . There is no indication of swelling of trapezius on the outline of shoulders. The clavicles are flat ridges along whole course of shoulders. Median line is sometimes marked by a groove from sternal notch to navel. The lower boundary of the thorax has the shape of a pointed arch. Rectus abdominis is formed by three or more transverse divisions above navel. The navel is generally

1898-517: The Acropolis (see: Perserschutt ). It was believed they did this to rid the reminder of the act of barbarianism done by the Persians and allow Athens to rebuild. The kore statue had two main purposes. Korai were used as votive offerings to deities, mainly goddesses such as Athena and Artemis. Both men and women offered the kore statues. Korai not only acted as an offering to a deity, but could be used to show off economic and social standing within

1971-521: The Akropolis torso, and the Rayet head. The island of Keos supplies us with one of the best examples of the time, notable for its advanced rendering of the back where the greatest protrusion of the back is level with that of the chest. Keos was likely under the cultural influence of Athens at this time and this kouros is comparable to and chronologically close to the Anavyssos kouros and akropolis head. From

2044-487: The Peplos Kore was wearing a regular peplos, but in fact she was wearing an ependytes with animal friezes. This type of Oriental prestige garment was usually reserved for goddesses. Art historians debate whether the Peplos Kore is Artemis or the patron goddess of the Acropolis, Athena. The evidence leans toward the goddess Artemis, but without the true coloring it is difficult to say for sure. The Phrasikleia Kore

2117-664: The Ptoan sanctuary in Boeotia we have the Ptoon 12 kouros ( NAMA ), "softer, less sturdy", Richter (1960). suggests; Richter asserts it is a local Boeotian product, not an import from Athens. C.  520–485 BCE: the last stage in the development of the kouros type is the period in which the Greek sculptor attained a full knowledge of human anatomy and used it to create a harmonious, proportionate whole. The features that now become expressed are as follows. The lachrymal caruncle

2190-484: The Pythian Apollo at Samos by Diodoros as "Egyptian in style, with his arms hanging by his sides and his legs parted". However, not all kouroi are images of a deity; many have been discovered in cemeteries where they likely served as commemorative tombstones of the deceased. This type was also used as a memorial for victors in the games (like trophies), kouroi were used as offerings to the gods, (Pausanias describes

2263-410: The abdomen can be associated with later examples of the group. Yet these same youths have a grooved, narrow lower boundary to the thorax and their flanks are level, suggesting that they are early specimens of the style. Richter (1960) names this group after the kouros Ptoon 20, which is likely a Boeotian work dedicated by Pythias of Akraiphia and Aischrion to Apollo of the silver bow. This along with

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2336-481: The age of 94. Brunilde Ridgway is, in keeping with her mentor Rhys Carpenter, a follower of the radical questioning of the Meisterforschung , or search for the masterpiece or archetype that inspired a replica series, that dominated the history of Greek art since Adolf Furtwängler . Elaborating on Carpenter's remark that Greek sculpture is “the anonymous product of an impersonal craft,” she maintained that

2409-462: The anterior spine of the crest. Shoulder blades are now separate raised planes. The erector spinae sometimes indicated as raised planes. Arms are generally joined to body. The depression over great trochanter is generally omitted. Shin sometimes curves inwards. Left flank is occasionally placed slightly forward. C.  575–550 BCE: named after an Attic kouros found at Volomandra and a Corinthian specimen from Tenea (Munich 168) this period marks

2482-514: The archaic column sculptures from the Temple of Artemis Ephesos, thought to have been supplied by Croesus of Lydia, share some anatomical features. Of the important works that come done to us there is the colossal kouros from Megara, a transitional early piece from Boeotia (Thebes 3) and an early Parian example. C.  540–520 BCE: this is the era of the Peisistratos dynasty and marks

2555-531: The assumption of Athens as the centre of artistic activity in Greece. In this period of great development the anatomical proportions become normal, the forms modelled and the spine clearly S-shaped. The head is now spherical and well-developed. The tragus takes on its natural form, the antitragus is also indicated. Hair occasionally descends as far as nape of neck. The sterno-mastoids when marked are indicated by modelled shapes. Their attachment to sternum and clavicles

2628-702: The deceased. It is suggested by historians that the funerary kore portray the appearance of the dead. This became evident with their names being inscribed on the bases of the statues. An example would be the statue of Phrasikleia unearthed from the Meogeia plain in Attica. The statue marked the grave of a young unwed girl according to the inscription found on the base. Whether korai were given as votive offerings or grave markers, according to historian Robin Osborne, they were allegoric symbols as “tokens of exchange”. Unlike

2701-614: The deities or the dead. The duration of the Archaic korai lasted between about sixth century to fifth century BC. Similar to the kouroi, historians believe that the korai was influenced by Egyptian convention. Since ancient Greeks and Egyptians had relations with one another, artistic influence was possible. Korai have been found throughout Greece, such as in Athens , Ionia , Cyclades , and Corinth . This demonstrates that korai were not regionally isolated. The largest excavation of korai

2774-412: The development of the kouros type as we now understand it is based on the relative chronology delineated by Richter , who distinguishes six groups by their common anatomical features, with particular reference to the major muscle groups as illustrated in the écorchés . C.  615–590 BCE: the dates of this period are tentative, roughly late seventh-early sixth century, which Richter infers from

2847-588: The duration of development necessary for the previous generations from the more securely dated Tenea-Volomandra group. Additionally she notes a similarity of sculpture from this time to early Athenian pottery , particularly the Nessos amphora and the human figures on the Horse amphorae. Richter also detects a resemblance between the New York-Sounion kouroi and an early Corinthian pyxis of the last quarter of

2920-459: The era. The date of this group is conjectured on the basis that one generation would be required for the development of the Melos group style prior to the more securely dated Anavysos-Ptoon style. However Richter argues there may be some relationship to other contemporary Greek art works, namely: the figures on Late Corinthian pottery c.  550 BCE. exhibit the same degree of naturalism, and

2993-452: The evolution of the kouros type is inevitably linked to that of the overall development of monumental Archaic Greek sculpture. There are fundamentally two schools of thought on how those Daedalic forms, some of which we know of only from the literature (kolossos, bretas, andrias and xoanon), became the free-standing sculpture in around the 6th century; namely, that it was a response to the internal development of Greek types and religious needs or

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3066-484: The extravagance of private funerals. Activity is more vigorous in Boeotia , especially those from the Ptoan sanctuary and the Orchomenos kouros, early work there is probably native. Also Corinth, Actium produces one of the best examples of the period, detailing still of in the form of grooves and ridges but there is the beginning of modeling in the full roundness of natural form. One of the more accomplished products of

3139-401: The eye is indicated henceforth. Lips curve upwards and meet more or less at corners, the upper lip protrudes over lower. Construction of neck is generalized, sterno-mastoids when indicated are marked by slightly modelled shapes. On the median line a groove along sternum is generally replaced by modelled shapes and only the linea alba is marked by only a groove. The lower boundary of thorax assumes

3212-543: The figure of Horus ) and the kouros type has long been conjectured, not least because of trade and cultural relations that are known to have existed since the mid-seventh century BCE. A 1978 study by Eleanor Guralnick applied stereophotogrammetric measurement and cluster analysis to a number of Greek and Egyptian statues and found the correlation between the Second Canon of the 26th Dynasty and Greek kouroi to be widely distributed but not universal. The problem of

3285-706: The flowering of the Middle Archaic, and these kouroi are contemporary with such works as the Berlin Standing Kore, the Moschophoros and the Bluebeard Pediment. There is a tension observable in this group between the solid, architectonic quality of early styles and the expressive possibilities of a vigorous, fluid naturalism . The anatomical novelties of this time are as follows. The ear is carved in more than one plane. A roundness of

3358-429: The identities of the korai statues, but they have theories of whom they might be. There are two theories that many historians are in agreement on for identification: the "divinities" theory and "agalmata" theory. The "divinities" theory suggests that the korai represent goddesses, nymphs, and other types of female deities. This theory could only be true for some of the statues. The problem historians have with this theory

3431-485: The immortal. The earliest extant examples may be the two life-sized marble figures from the Ionic sanctuary on the island of Delos dating from the second or third quarter of the seventh century. The canonical form of the kouros persists until the beginning of the classical period, by which time artists had achieved a high degree of anatomical verisimilitude , if not naturalism, as can be observed on such transitional works as

3504-473: The korai to be goddesses, they would all be different female deities. That would be more divine beings than Greeks had in their pantheon . However, some of the korai are divine figures, such as the Nikandre Kore as a statue of Artemis. The agalmata theory proposes that many korai are generic maidens who represent the Archaic ideal of female beauty. Those maidens could be the priestesses, the donor of

3577-434: The late sixth century, it could serve a number of uses depending on context and location. This 'polyvalent' argument, initially put forth by historian Jean Ducat, was elaborated by art historian Andrew Stewart, who contends the distribution of kouroi coincides with city-states where the aristocracy were in ascendancy and that this alternation between the divine and the memorial was an identification of aristocratic arete with

3650-417: The majority are from Apollonian sites and dedicated to that god, which has led Ridgway (1993) to suggest that the early, belted form of the kouros-type statue was introduced in the late seventh century as a replacement for the colossal representation of Apollo. Over time, the votive and funerary functions of the sculpture became divorced whilst its attributes were shed and its form became more generic until, in

3723-529: The notion of the artistic personality didn't emerge in the West before the 15th century AD. She also addressed the Kopienforschung ("copy research") of Johann Joachim Winckelmann , who is finding a type statuary through its Roman copies, focusing on identifying the originality of Roman sculptors. Rather skeptical vis-à-vis the literary sources, she stuck to the stylistic analysis of the works. Known for

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3796-445: The nude and distant kouroi, korai are completely clothed and engage with their viewer. Their arm is extended and offers gifts of fruit, flowers, and birds. Patrons used korai as offerings to the deities or the dead. Korai symbolize their function by narrating the scene of exchange. Identification has not been an easy task because of time or the lack of context for many korai. It has been difficult for historians and scholars to determine

3869-481: The patrons was that if the korai were pleasurable to look at, then it would please the deity as well.  Originally, many of the korai were polychrome . Greeks used color to depict narrative value, characterize individuals, and create meaning behind korai. Color was used to create patterns on the clothing of the korai. One example of patterning is seen on the Peplos Kore . Historians originally believed that

3942-453: The possible appearances of ancient sculptures in their original color. Brunilde Sismondo Ridgway Brunilde Sismondo Ridgway (14 November 1929 – 19 October 2024) was an Italian-American archaeologist and specialist in ancient Greek sculpture. The daughter of Giuseppe Sismondo, a career army officer, and Maria (Lombardo) Sismondo, Ridgway was born in Chieti on 14 November 1929; as

4015-455: The previous studies by Erik Iversen and Kim Levin have added considerably to the argument for an imitation by Greek sculptors of Egyptian sculpture. The system of proportion in the second Egyptian canon of the Saite period consisted of a grid of twenty-one and one-fourth parts, with twenty-one squares from the soles of the feet to a line drawn through the centre of the eyes. The grid was applied to

4088-454: The same level as vastus externus , the shin is vertical, and the malleoli are level. Weight is evenly distributed on both legs and the flanks are level. C.  590–570 BCE: this period witnesses a lull in Attica with perhaps only two identifiable works from the beginning of the era until the second quarter of century, this might be due to the Solonic reforms and their restriction on

4161-401: The same stolid expression, flat skull, large eyes and horizontal mouth. The characteristics of this style are as follows. The ear is still carved in one plane, but less stylised. Eyes are not so large as before and more rounded. Mouth is horizontal but no longer always in one plane. The slight protrusions of flanks are sometimes prolonged into a girdle-like ridge, the sculptor occasionally marks

4234-587: The seventh century. Notable works of the time include the New York kouros , Dermys and Kittylos, Delphi Twins, the Sounion kouros , and the Delos colossus. The conception of form in this period is abstract and geometrical, emphasis is on architectural shape and the interrelation of parts which favoured expressive pattern over realism. Figures display the four faces of the block from which they are carved, their form

4307-513: The shape of a somewhat rounded arch. There is a slight indication of the external oblique bulging over the iliac crest . Shoulder blades are indicated as modelled shapes. The erector spinae is sometimes modelled. Size of thumb is normal. The vastus internus descends lower than vastus externus . Shins curve inwards. The external malleolus is lower and further back than the internal one. The little toes slant inwards. The metatarsal bones are lightly indicated. The absolute chronology of this period

4380-423: The statue of Arrhichion , an Olympic pankratiast , as in the kouros scheme), and some kouroi have been found in sanctuaries other than that of Apollo. Indeed, some kouroi placed in sanctuaries were not inscribed with the name of the god but with a mortal, for example the 'Delphi Twins' Kleobis and Biton were honoured for their piety with matching kouroi. A direct influence between Egyptian sculptures (in particular

4453-412: The statue, or young girls who served the goddess. The agalmata theory accepts that some, but not all of the korai might be goddesses or other female divinities. Art historian Jeffery M. Hurwit suggests that the generic maidens were symbols for ideal beauty that embellished the sanctuaries and pleased the deities. Their presence is meant to be a delightful gift for spectators to gaze upon. The main idea for

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4526-455: The study of Greco-Roman art history in 1755, held the belief that color in ancient sculpture was inferior and spoiled the purely white marble. This bias persists into the present day. Scientists and art historians counter this bias by providing evidence of visible remaining colors through microscopy and pigment analysis, ultraviolet fluorescence and reflection, and raking light. Vinzenz Brinkmann and his colleagues have been working to recreate

4599-496: The style of Egyptian figures, Greek kouroi often have their left leg extended forward as though walking; however, the figurine looks as though it could be either standing still or taking a long stride. A small number of early kouroi are belted around their waists, a practice that died out at the turn of the sixth century. Such belts have traditionally been assumed to be an abbreviated symbol of a more complex costume, however fully clothed contemporary figures also exist, suggesting that it

4672-554: The surface of the block being carved, allowing the major anatomical features to be located at fixed grid points. Iversen has shown that the New York kouros conforms to this ratio of proportion. It was Guralnick, however, who developed this discovery by comparing other kouroi by means of cluster and Z-score profile analysis to the Egyptian Canon II and a control group composed of statistically average Mediterranean men. As

4745-523: The time is the Thera kouros, softer and less muscular in modeling it is more Ionian than Dorian though Thera was a Dorian colony. We may deduce the chronology of this period only if the dates for the Sounion and Volodmera groups are correct since there is no external evidence for the dates of this style; however, we can usefully compare the heads on vase painting of middle Corinthian 600-575 BCE which share

4818-526: The torso form Eutresis (Thebes 7) indicate a vigorous Boeotian school of sculpture which may have existed to serve the Ptoan sanctuary. Attic production is considerable up to c.  500 BCE after which it seems to peter out. Important late kouroi from Athens include the Aristodikos kouros (Ptoon 20 group) an akropolis statuette and the bronze Apollo from Piraeus. Kore (sculpture) Kore  ( Greek : κόρη "maiden"; plural  korai )

4891-428: The trapezium and pointed arch of the lower thorax that characterizes the late Tenea-Volomandra, furnishing us with a tentative lower boundary for the style. C.  555–540 BCE: figures of this period are simpler than before; their muscles are no longer separately accentuated. There is a tendency to flowing contour and a generalization of form. The tragus now sometimes assumes its natural form. The anterior part of

4964-422: The type of clothing they wore. Over time, korai went from the heavy peplos to lighter garments such as the chiton . Their posture is rigid and column-like, sometimes with an extended arm. Some korai were painted colorfully to enhance the visual impact of the garments and for narrative purposes. There are multiple theories on whether the korai represent mortals or deities. Korai also functioned as offerings to

5037-646: The use of color indicated a higher social position due to the high cost of dyes. Clothes in bright colors were more expensive. In addition, color was used to depict jewelry or gems graphically on a kore. If the patron was wealthy, the sculptors could use jewelry and metals as aspects of their sculpture. There is an aesthetic misconception that the sculptures were pure white marble. Since the times of Michelangelo, it has been believed that ancient Greek and Roman sculptures were sculpted to be only white marble. This stereotype influenced many viewers of ancient art and created biases. Johann Joachim Winckelmann , who pioneered

5110-421: The youth as he appeared in the palaestra , but no examples have been found at Olympia nor do they bear any allusion to athletic equipment. As well as being found in the sanctuaries of Apollo at Delphi, Delos and Mt. Ptoion, kouroi have been found dedicated at the sanctuaries of Hera at Samos, and of Athena and Poseidon at Sounion, so the contention that they depict Apollo is at the very least problematic. However,

5183-405: The youth from Keratea, and adopted by Henri Lechat as a generic term for the standing male figure in 1904. The kouros type appears to have served several functions. It was previously thought that it was used only to represent the god Apollo , as attested by its depiction on a vase painting in the presence of supplicants. This association with Apollo was supported by the description of the statue of

5256-536: Was at the Acropolis of Athens in the 1880s. They served their purpose as votive offerings to the patron goddess, Athena, on the Acropolis throughout the sixth and early fifth century BC. However, in 480/479 BC, Persians attacked and desecrated the city of Athens including the Acropolis and many of its statues. After the attack the Athenians buried the korai, whether or not they were broken, in "graveyards" on

5329-401: Was not just a sculptor's shorthand for clothing but a signifier in itself. Art historian B.S. Ridgway suggests that this may have been an attribute of Apollo , athleticism or magical powers, though its iconography remains obscure. Further, there is the question of the nudity of the kouros and if this is also an attribute. Again this may have represented athletic or heroic nudity – immortalising

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