Introduction
The artistic creations of ancient Greece represent the aesthetic development of humanity. Greek sculptures, in particular occupy a prominent position in the general history of human art. The main focus of most of the creations was the male figure, which underwent an evolution from stiff figures to simple and natural representations of the human form, as evidenced in the Kouros and the Kritios Boy. The Kouros is a marble sculpture on display at the Metropolitan Museum of Art created during the archaic period at around 580 BCE (Gunther and Bagna-Dulyachinda 162). The Kritios Boy is a marble sculpture on display at the Acropolis Museum in Athens, created during the classical period at around 480 BC (Slepukhin 21). The pieces are historically significant because they highlighted significant cultural perceptions as well as the evolution of Greek art. The Kouros and the Kritios Boy represent the artistic evolution from a physical awareness of the environment, as reflected in the archaic style, to an optical one, as highlighted in the classical period.
Analysis
Greek sculptural creations are considered vital in view of the fact that they offer lifelike representations of their subjects. The Archaic period was characterized by the emergence of Kouros sculptures. The pieces were largely influenced by the symmetrical and rigid style that characterized Egyptian creations (Gunther and Bagna-Dulyachinda 162). Koroi were associated with Apollo, and they served as a reflection of the significance of the naked male form in the Greek civilization (Gunther and Bagna-Dulyachinda 162). It is worth noting that the highly idealized creations emphasized the belief that men were privileged. The artist’s emphasis on nudity was a significant departure from previous conceptions that viewed the naked form as shameful. Nudity emerged as the singular most important reflection of vitality and sexual desirability (Gunther and Bagna-Dulyachinda 162). It is evident that Greece valued athleticism, immortality, and military heroism. The commissioning of Kouros sculptures was the preserve of aristocrats who utilized the items as alms or tombstones intended to emphasize social class (Gunther and Bagna-Dulyachinda 162). The sculptures’ lack of detail indicates the fact that they were not modeled to represent specific personalities.
The athletic depiction of the Kouros statue represents the artist’s interest in naturalism as well as the conventions that dictated life at the time of the artwork’s creation. The New York Kouros is a marble structure that measures 195 centimeters and is believed to have been created in 580 BCE (Gunther and Bagna-Dulyachinda 162). The figure’s free-standing form and size create a sense of overwhelming humanity. The figure of a man symbolizes the honor of a fallen soldier, as evidenced by the adoption of a heroic pose. The distinct musculature and closed-lip smile further accentuate the aforementioned point. The smile was a common feature among other pieces created during this period, and it was thought to represent youth, happiness, and well-being (Gunther and Bagna-Dulyachinda 160). The sculpture’s hair reveals subtle details, such as an intricate braid pattern.
The figure’s tightened fists and arms that lie parallel to the body facilitate the adoption of a seemingly unnatural pose. The placement of one leg in front of the other is meant to depict motion. The rather asymmetric stance impacts the appearance of other body structures, such as muscles. Greek sculptors gradually abandoned the rigidity depicted in the Kouros sculpture for a more natural representation of the human form.
The early Classical style’s emergence has been debated by scholars for years. The current consensus, which is based on extensive research, is that the style originated in Athens after 480 BCE (Makres and Scafuro 151). In essence, the Classical period of Greek art occurred in the 5th Century BC and it was the culmination of developments in Greek Culture, many of which occurred in Athens (Slepukhin 17). Tyrannicides of Kritios and Nesiotes are believed to have inaugurated the style (Makres and Scafuro 151). The Kritios Boy depicts a lifelike and relaxed representation of the male figure. The artist emphasized the realistic curvature of the spine to highlight a counterbalance between relaxation and tension. It is evident from the sculpture that artists in this time period sought to create the ideal human body. Among the attributes that were favored included exceptionally smooth skin, regular facial features, and specific body proportions that depicted perfection. The figure’s hallowed-out eyes are believed to have been inset with glass-paste eyes “that would have been very lifelike” (Gunther and Bagna-Dulyachinda 164). Such eye inserts were commonly used in a variety of classical-era sculptures.
There are other noteworthy changes that were seen in the classical era. For instance, the paradigmatic Archaic smile that was characteristic of Kouros sculptures is eliminated an in its place is a serious expression that is reflective of the Austere sculpture technique (Gunther and Bagna-Dulyachinda 164). The most significant innovation evident in the sculpture is the use of the naturalist pose termed constrapposto, which refers to the act of placing a body’s weight on one foot facilitating the rotation of the arms and shoulders to the side from the legs and the hips (Gunther and Bagna-Dulyachinda 164). The result is an asymmetrical figure that simulates motion, tension, and relaxation, thus giving the marble from which it is crafted a lifelike quality.
Comparing Archaic and Classical Aesthetics
Various archaistic traits have been transferred from the period when the style was developed to others, such as the early classical technique. For instance, the overall form of the sculptures and their associated stiffness remains largely unchanged (Flanderková 8). Korai received ornamental treatment, and their “depictions become decoratively patterned in the late Archaic period” (Flanderková 8). Other features that transferred to creations such as the Kritios Boy include the pose and the design of hair. The two main characteristics that that is evident across both periods are symmetry and frontality.
A close examination of the Kouros sculpture reveals that symmetry and frontality, which encompass the entire figure, are prominent features in other creations from the same period. The sculpture is turned directly to the viewer as the subject steps forward with his left leg. The frontal arrangement of the sculpture is emphasized by placing its arms firmly along the body and holding the head straight in a forward-facing gaze. These features facilitate the creation of a stiff image designed for frontal observation and the incorporation of symmetry. The statue’s unreal feeling is emphasized by a central axis that creates symmetry. The sculptures created in the classical period differ from those in the archaic period because symmetry and frontality are approached differently. The statues appear lifelike, given that there is an increased focus on anatomical proportionality.
The realistic depiction of the human form gained prominence in the Classical era as artists focused on representing critical issues regarding the human condition. The Kritios Boy’s movement is highlighted by the lowering of his arms and the minimal extension and bending of the right lower limb as the body rotates around the axis (Slepukhin 20). The pose is dynamic yet it maintains calmness and simplicity. The Kritios Boy’s lengthened facial dimensions, unique chin and short hair depict the transformation of craftsmanship among sculptors. The new technique was also characterized by a decisive separation of the scalp and the face, melancholic countenances, and a distinct presence of hair on the foreheads (Slepukhin 19). The artists were focused on their subject’s inner thoughts in addition to their physical forms.
A new type of face replaced the depictions from the archaic era. The most prominent features included linear nasal bridges and ovoid-shaped eyes that were pointed on one or both ends (Slepukhin 19). It is worth noting that sculptures in the Classical era are not as abstract as those from the archaic period. However, the exact elements of the artist’s individuality are yet to become distinguishable. Ancient Greek art had a heavy influence on contemporary artistic depictions in Europe (Wang 211). The breadth and simplicity of the early classical era gave rise to the style of sculptures that characterized the artistic depictions that highlighted the evolution of humanity’s perception of the world.
Conclusion
The Kouros and the Kritios Boy are a depiction of the transformation of humanity’s perception of their physical surrounding and conception of the meanings of various symbols within society. Even though the archaic and classical periods have distinct features, the artist’s fascination with the male form and the representation of masculinity, heroism, and beauty remain unchanged. Greek art evolved to embrace prevalent societal beliefs while striving to embrace a realistic depiction of the human condition.
Works Cited
Flanderková, Kristýna. “Survival and Rebirth: Archaistic Elements in the Greek Art of the Classical Period.” Studia Archaeologica Brunensia, vol. 27, no. 2, 2022, pp. 5–30, Web.
Gunther, York H., and Sumetanee Bagna-Dulyachinda. “From Realism to Idealism: Ancient Greek Sculpture in the Classical Period.” Literature & Aesthetics, vol. 29, no. 2, 2019, pp. 159–83, Web.
Makres, Andronike, and Adele Scafuro. “Archaic Inscribed Votives on The Athenian Acropolis: Dating the Dedications of Ordinary Men and Women.” Journal of Ancient History and Archaeology, vol. 9, no. 1, 2022, pp. 149–58, Web.
Slepukhin, Viktor V. “The Nature of the Image in the Plastic Arts of Ancient Greece during the Classical Period (the 5 Th Century BC).” Language. Philology. Culture., vol. 11, no. 3, 2021, pp. 16–29, Web.
Wang, Keyang. “Comparison of Ancient Greek Art and Ancient Roman Art.” Proceedings of the 2021 International Conference on Public Art and Human Development (ICPAHD 2021), vol. 638, 2022, pp. 211–15, Web.