青年雕像

title: 泰内亚–佛罗满萨雕像群.
content: C. 575–550 BC: named after an Attic kouros found at Volomandra (NAMA 1906) and a Corinthian specimen from Tenea (Munich 168) this period marks 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 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 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.
title: 皮通20雕像群.
content: C. 520–485 BC: 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 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 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 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, thus the kouroi of its pediment which betray the swelling trapezium and semicircular lower boundary of 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 names this group after the kouros Ptoon 20, NAMA 20, which is likely a Boeotian work dedicated by Pythias of Akraiphia and Aischrion to Apollo of the silver bow. This along with 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 BC after which it seems to peter out. Important late kouroi from Athens include the Aristodikos kouros (Ptoon 20 group, NAMA 3938), an akropolis statuette (NAMA 6445) and the bronze Apollo from Piraeus.

Summary: 青年雕像(英文:kouros, (, 复数为kouroi)是一个现代词汇 用于描述自力支撑(free-standing)的古希腊雕塑。这类雕塑最早发现于古风时期,代表裸体男性青年雕像。在古希腊,“kouros”意为年轻的男孩,大多数情况特指贵族阶级的。尽管青年雕像在整个古希腊领土上都有发现,但主要还是集中在阿提卡和维奥蒂亚州。 “Kouros”这个术语最早由V.I.列奥纳多于1895年描述阿波罗,一个有关凯拉泰阿的年轻人用的。而后于1904年被Henri Lechat泛用于描述通常的男子形象。类似的雕像在希腊与地区被大量发现,主要集中于阿波罗的圣所中,而其中最大的雕像群位于维奥蒂亚州,的阿波罗圣所,并于其中发现了超过一百件雕像。 这些自力支撑的雕塑大都为大理石材质,但也有小部分为石灰石,木制,青铜,象牙和陶瓦。它们通常为真人比例,但一些早期作品也有大至3米高的雕像。

Kouros: A kouros (,, plural kouroi) is the modern term given to free-standing ancient Greek sculptures that first appear in the Archaic period in Greece and represent nude male youths. In Ancient Greek "kouros" means "youth, boy, especially of noble rank". Although Kouroi have been found in many ancient Greek territories, they were especially prominent in Attica and Boiotia. 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 the youth from Keratea, and adopted by Henri Lechat as a generic term for the standing male figure in 1904. Such statues are found across the Greek-speaking world; the preponderance of these were found in sanctuaries of Apollo with more than one hundred from the sanctuary of Apollo Ptoion, Boeotia, alone. These free-standing sculptures were typically marble, but the form is also rendered in limestone, wood, bronze, ivory and terracotta. They are typically life-sized, though early colossal examples are up to 3 meters tall.