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Essay / Research Paper Abstract
4 pages in length. The primary significance of kouroi, plural of the singular kouros, is its insignificance within the context of artistic meaning. Simply stated, this popular type of fifth century Archaic era sculpture is spectacular because of its commonness; standing as tall as the real beardless young men for whom they were created, kouroi's life size stature, marked nakedness, striking physique, anatomical detail (especially the broad, detailed chest) and three-dimensional are the first attributes noticed. Bibliography lists 4 sources.
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commonness; standing as tall as the real beardless young men for whom they were created, kourois life size stature, marked nakedness, striking physique, anatomical detail (especially the broad, detailed chest)
and three-dimensional are the first attributes noticed. While exemplary of its time and culture, the Metropolitan kouros is also indicative of the familiar and customary sight of seeing his
human likeness on, for example, the battlefield as found in Homers Iliad. As Stewart (1990) notes, kouros "is basically meaningless -or rather, its significance must lie in only distinguishing
characteristics, namely, its nudity, its youth, its beauty, its autonomy, and its immutability: in other words, its form" (p. 109). The aspect of psychological curiosity portrayed in the Metropolitan kouros
evokes feelings of the strength and nobility of the day, while at the same time puts forth a sense of indifference to the act of simple movement. A lasting
impression of this mental state is directly related to the young mans deep hue and physical fa?ade, inasmuch as the sculptor gives no indication whatsoever of the nameless individuals prideful
spirit from the stoic and somewhat stiff stance and facial expression (Sooke, 2007). Moreover, having a foundation in fifth century Archaic lends itself to an unmistakable era in sculpting
given how the male is in the act of walking with one leg ahead of the other, which is a notable difference from the conventional two-footed stance. Kerr (2009)
further points out how "all the parts of the figure relate to the whole by a simple system of whole number proportions. When we compare this kouros with other
sculptures of the period from the Greek world, we find that it shares with them many of the same formal characteristics" (Kerr, 2009).
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