青年雕像（英文：kouros， 複數為 kouroi 是一個現代詞彙 In the accompanying epigraphy the dedicatory formula was X dedicated me to Y there seems to have been no generic term for these sculptures used in the ancient literature see Ian Morris Classical Greece Ancient Histories and Modern Archaeologies 1994 p 90 用於描述自力支撐（freestanding）的古希臘雕塑。這類雕塑最早發現於古風時期，代表裸體男性青年雕像。在古希臘，kouros 意為年輕的男孩，大多數情況特指貴族階級的。儘管青年雕像在整個古希臘領土上都有發現，但主要還是集中在阿提卡和維奧蒂亞州。 Kouros 這個術語最早由 VI 列奧納多於 1895 年描述阿波羅，一個有關的年輕人用的。Archaeologike Ephemeris 1895 col 75 n 1 而後於 1904 年被 Henri Lechat 泛用於描述通常的男子形象。Henri Lechat La sculpture attique avant Phidias 1904 類似的雕像在希臘與地區被大量發現，主要集中於阿波羅的聖所中，而其中最大的雕像群位於維奧蒂亞州，的阿波羅聖所，並於其中發現了超過一百件雕像。J Ducat Les kouroi du Ptoion 1971 這些自力支撐的雕塑大都為大理石材質，但也有小部分為石灰石，木製，青銅，象牙和陶瓦。它們通常為真人比例，但一些早期作品也有大至 3 米高的雕像。 與青年雕像相對應的是少女雕像，英文為 kore，。 詞源 在古希臘，kouros 意為年輕的男孩，大多數情況特指貴族階級的男孩。 當一個青春期的男孩成長為一個男人後，作為一個成年的 kouros，他可以開始加入兄弟會 ， Apellaios 是舉行這些儀式的月份，阿波羅 Apellon 則被稱為megistos kouros，意為偉大的 kourous。Jane Ellen Harrison 2010 Themis A study to the Social origins of Greek Religion Cambridge University Press p 441 製造目的 青年雕像的出現對應了幾種相應的功能需求。青年雕像曾被認為只用來代表太陽神阿波羅，正如在懇求者面前的花瓶畫上所描述的一樣。BM E336 青年雕像和阿波羅的關係被薩摩斯島上，由狄奧多羅斯創作的皮媞亞 阿波羅雕塑上的描述所支援。I989 see Richter Kouroi p1 正如 埃及風格，雙臂置於兩側，雙腿分開 。然而並不是所有的青年雕像都是神像，很多的青年雕像發現於墓地中，並很有可能是被當作了墓地標誌或墓碑，或者被當作在遊戲中獲勝者的獎勵（像獎盃），青年雕像還曾被當作神的祭品，保薩尼亞斯將該類雕塑描述為，一種奧林匹克運動，潘克拉辛，作為青年雕像姿勢的一種，VIII40I 因為有一些青年雕像是在阿波羅的聖所中被發現的。事實上，一些置於神的聖所的青年雕像上刻的不是神的名字，而是凡人的，比如 德爾斐雙子 ，克琉比斯和比同，他們應為他們的虔誠感到榮幸，因為他們的名字得到了相應的青年雕像對應。Delphi 467 1524 關於古埃及雕塑 特別是荷魯斯的雕像 是否對青年雕像有著直接影響是一個已經提出很久的猜想，因為古希臘和古埃及之間的貿易和文化關係被證實從公元 7 世紀中期起就存在了。在 1978 年一項由 Eleanor Guralnick 發起的專案將攝影測量法和聚類分析應用於許多古希臘和古埃及雕塑，並發現了關於埃及第二十六王朝的第二加農（Second Canon）和古希臘青年雕像有某種關係，而這種關係廣泛分佈在大量雕塑作品中，但並不普遍。E Guralnick Proportions of Kouroi p461 AJA 1978 起源與進化 作為古希臘雕像的一部分，青年雕像的發展不可避免的與古希臘雕像整體發展緊密相連。早期的帶達理克（Daedalic）式雕塑有兩個學派，其中一些只能從古代文學中瞭解到它們的名字，比如 kolossos bretas andrias 和 xoanon 等等，在公元 6 世紀左右成為了自立支撐式雕塑；即是對希臘風格和宗教內部發展所做出的回應，ie E Athes ProcPhilSoc 107 1963 pp6081 Also RM Cook Origins of Greek Sculpture JHS 87 1987 pp2432 and P Kranz AthMitt 81 1972 pp155 或是被異地文化影響的產物。其中外部因素對安那託利亞，敘利亞等地文化影響最深遠的當屬埃及。據瞭解，在七世紀中葉古希臘建立外貿城市之前，希臘人與埃及已有有長期的貿易關係，Herodotus II154 解釋了希臘是從何處學到埃及式雕塑技巧的。Though little Archaic sculpture has been found in Naukratis and that is not monumental Ridgway 1993 p36 Guralnick 的工作成果以及 Erik Iversen 和 Kim Levin 先前的研究 Iversen MittKairo 15 1957 134147 and Canon and Proportion in Egyptian Art 1955 Levin AJA 68 1964 1328 大大增加了希臘雕塑家模仿埃及雕塑的討論熱度。埃及第二十六王朝時期雕塑的經典雕塑比例系統是由一個二十一右四分之一個部分（稱之為格子）組成的，其中從腳底到雙眼連線的距離是二十一格。這些格子在雕刻時被應用於協助定位人體的各個內臟，肌肉位置，相當於輔助線的功能。艾佛森（Iversen）表示紐約青年雕像正好符合這個比例。該發現是 Guralnick 透過對其他青年雕像，尤其是埃及佳能二世的形體資料的聚類分析和標準分數與地中海男子平均形體的比較，從而發現了這一點。後來她又對公元六世紀的兩個少女雕像進行了相似的演算法和比較，並發現大多數此類雕像都試圖向理想的人類完美形體發展。Subsequent study by Jane B Carter and Laura J Steinberg Kouroi and statistics AJA 1141 2010 casts doubt on Guralnicks results They maintain that while there two principal groups of kouroi there is not a statistically significant correlation between the Greek and Egyptian forms and the differences can be accounted for by the variation in the development of regional styles 象徵與含義 青年雕像是沒有鬍子，擺出一種死板的前進姿勢，並且大部分都是裸體的雕像。This is begging the question of course whether kouroi so defined form a different category from other male figures namely draped youths cuirassed or armed warriors or bearded figures See Ridgway Archaic Sculpture pp 9194 和埃及雕像對比來看，希臘的青年雕像通常會伸出左腳，表示走路的姿態，但這些雕像看起來要麼只會站在原地，要麼看起來能拔腿就走。一小部分早期青年雕像腰部會戴有腰帶，但這種做法在公元六世紀消失了。這種腰帶在傳統上被認為是一種符號，代表了更為複雜的服飾，Deonna Broadman for example see Ridgway p 72 note 28 但全身覆蓋服裝的雕塑也出現過，這意味著雕塑家們不是隻是為了把複雜的服飾縮減為一個符號，而是腰帶這個符號本身象徵著某種特殊的含義。藝術史學家 Ridgway pp 7273 在她 1977 年寫的 The Archaic Style in Greek Sculpture 中提出，這種腰帶可能代表阿波羅，運動員或者魔法力量的某種象徵，但直至現在這個符號本身的意義仍然模糊。另外，還有一個有爭議的問題是青年雕像的 裸體 是否代表著某種象徵或者屬性。如同之前提到的，裸體可以代表運動員或者英雄的裸體狀態：他在角力學校現身，使青年不朽，但人們至今沒有發現任何有關於奧林匹亞或者運動器械的例子。 除了在德爾福的阿波羅聖所，德羅斯和 MtPtoion 發現的青年雕像外，在薩摩斯島的赫拉神殿，蘇尼翁的雅典娜和波塞冬神殿中也發現了相似的雕像，Whitley J The archaeology of ancient Greece 2007 p 218，因此青年雕像是因為阿波羅相關原因而雕刻這一假說是有問題的。雖說如此，但大多數青年雕像還是在阿波羅聖所內發現，並被確認是獻給阿波羅的，這導致裡奇韋（Ridgway）在公元七世紀將早期帶有腰帶式的青年雕像引入並取代更早的直立式雕像以用於代表阿波羅。Ridgway B The Archaic style in Greek sculpture 1993 p 74 隨著時間的推移，雕塑的供奉和喪葬功能開始淡化，其內在屬性也被拋棄，雕塑形式和功能變得更加通用。到公元 6 世紀末為止，青年雕像已經發展到可以根據不同的環境和地點提供不同功能和意義了。 該 多元論 最初由歷史學家讓杜卡特（Jean Ducat）提出，Ducat 1971 pp 4445 由藝術史學家安德魯斯圖爾特（Andrew Stewart）整理闡述。斯圖爾特認為青年雕像與貴族分佈有著直接關係，因為青年雕像的分佈模式和古希臘貴族分佈大相徑庭。他認為這種神聖性和紀念性相互交替呈現的雕塑是對不朽貴族的認同。Stewart 1990 pp 109110 發展史 現存最早的青年雕像例子可能是位於提洛島的艾歐尼克聖殿（Ionic sanctuary）的兩個真人大小大理石雕像，Delos Museum A4085 and A334 See Richter Kouroi p27 鑑定為約公元 7 世紀第後半頁製作的。在古典希臘時期開始前，青年雕像早期有它們的一套雕刻標準，而到古典時期開始時，古希臘雕塑家們對解剖學已經有了很深的理解，並開始有了自然主義的初級形態。 For a corrective to the teleological assumption that the archaic artists aim was for naturalism see Hurwit The Art and Culture of Early Greece 1100480 BC 1985 pp2557 兩種形態的轉變可以在其過渡作品克雷提奧斯的少年（公元 480 年）身上看到。 青年雕像的起源年代不詳，事實上，沒有一類雕塑有著確切的起源時間。此外，當時學院的同質性也很強：當一個學院有了解剖學進展時，這些知識會迅速在各個研討會中討論，並散佈至各個學院，以至於 區域差異被轉化成為了共同進步。Richter Kouroi p5 因此，我們現在使用由 Gisela Richter 所作的相對年代來劃分青年雕像的發展史。她透過一些共同的解剖學特點將其劃分為六個組，特別是比如右邊所示的肌肉群的區別。 蘇尼翁雕像群 公元前 615590 年：這個日期是暫定的，大約在公元前七世紀末，六世紀初，由 RichterRichter Kouroi p 38 從之前日期更準確的泰內亞佛羅滿薩雕像群推斷出發展週期，以此推斷出該組青年雕像的大概發源時間。此外，她還指出了該年代雕像與黑彩陶器的相似之處，特別是 NAMA 1002 及其奔馬雙耳罐上的人像尤為相似。Lullies CV Munich fasc 1 pls 111 她還認為 Richter Kouroi p38 七世紀後四分之一部分 New YorkSounion kouroi 和 early Corinthian pyxis 之間的相似之處 Payne Necrocorinthia p293 pl 47 79。當時值得一提的作品包括 Met 32111 德米斯和克緹羅斯（Dermys and Kittylos， 雅典國家考古博物館 56 號 德爾斐雙子 德爾斐博物館 467 及 1524 號 蘇尼翁青年雕像，以及帝洛斯巨人（Delos colossus）。 這個時期雕塑的主要特點是抽象及偏向幾何外形的，它們象徵了類似建築結構的設計理念與凌駕於現實主義之上的表現主義部分的關係。這些雕塑所展現的四個面大體由立方體構成，卻又不缺失細節，這些細節表明了這個時期的雕塑家們對人體解剖學一知半解。他們的試圖將其塑造成和諧而又富有表現力的雕像，以至於其人體形態不合常理。蘇尼翁青年雕像的軀幹主要分為四面，切都表現扁平，其腰部以上的背面部分和脊柱對齊一起形成一條直線。雕塑顱骨的形態顯示其雕塑表現形式並沒有發展成熟：頭顱的背面和頂部經常是扁平的。耳朵直接在平面上挖出來，且非常抽象。 is knob like either on cheek or lobe is not indicated The eyes are large and flat is not marked 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 The Sternomastoids when marked are indicated by grooves running to the There is no indication of swelling of trapezius on the outline of shoulders The clavicles are flat ridges along whole course of shoulders 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 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 is sometimes indicated by grooves in the regions Forearm is with palm towards the body Arms often separated from body between armpit and hand Thumbs are large descends to about the same level as vastus externus the shin is vertical and the are level Weight is evenly distributed on both legs and the flanks are level FileStatua di kouros dallesterno del tempio di poseidone a sounion 600 ac ca n 2720 01jpg 蘇尼翁青年雕像，NAMA 2720 FileMarble statue of a kouros youth MET DT263jpg 紐約的庫洛斯雕像，大都會藝術博物館 32111 FileKAMA Kouros Porte SacréejpgKAMA FileKouros da merernda myrrhinous in attica 540530 ac ca 01 n 4890jpgAthens NAMA 2720 奧爾霍邁諾斯錫拉雕像群 C 590570 BC 這個階段見證了阿提卡的平靜 with perhaps only two identifiable works from the beginning of the era until the second quarter of century NAMA 3858 and 4181 this might be due to the Solonic reforms and their restriction on the extravagance of private funerals Activity is more vigorous in Boeotia especially those from the Ptoan sanctuary and the Orchomenos kouros NAMA 9 early work there is probably nativeRichter Kouroi p59 Also Corinth Actium produces one of the best examples of the period Louvre MNB 767 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 the time is the Thera kouros NAMA 8 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 headsPayne Necrocorinthia pl48 nos 14 on vase painting of middle Corinthian 600575Richter Kouroi p62 which share 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 girdlelike ridge the sculptor occasionally marks 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 is generally omitted Shin sometimes curves inwards Left flank is occasionally placed slightly forward FileBM B474 kourosjpgBritish Museum BM474 London FileActium3jpgLouvre MNB 767 File0006MANKouros1jpgNAMA 8 from Thera 泰內亞佛羅滿薩雕像群 C 575550 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 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 sternomastoids 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 Shoulder blades are indicated as modelled shapes The erector spinae is sometimes modelled Size of thumb is normal The 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 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 570Richter Kouroi p77 Additionally the terracotta kneeling boyVanderpool Hesperia VI 1937 p434 found in a well in the Agora and dated by its blackfigure pottery sherd stratum to circa 550 shares the flat almond eyes absence of the trapezium and pointed arch of the lower thorax that characterizes the late TeneaVolomandra furnishing us with a tentative lower boundary for the style FileMuseo archeologico di Firenze Kouros di Milani 530 ac 2JPGMilani kouros Florence Museo Archeologico 70 FileApollo of Tenea Glyptothek Munich 168jpg 泰涅亞的庫洛斯，慕尼黑 168 米洛斯雕像群 C 555540 BC 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 the 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 a deep curve Forearm and arm sometimes correctly semi 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 uniformRichter Kouroi p90 the products of this period are found across the Greek world in large quantities This group is named after the best preserved example of the era NAMA 1558 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 AnavysosPtoon style However Richter argues there may be some relationship to other contemporary Greek art works namely the figures on Late Corinthian pottery circa 550 BC exhibit the same degree of naturalismRichter Kouroi p93 and the archaic column sculptures from the Temple of Artemis Ephesos thought to have been supplied by Croesus of Lydia share some anatomical featuresHerodotus I92 claims Croesus supplied the columns that the surviving fragments are those is unsure see FN Pryce Catalogue of Sculpture in the Department of Greek and Roman Antiquities of the British Museum 1928 1 1 p47 Richter Kouroi p94 Of the important works that come done to us there is the colossal kouros from Megera NAMA 13 a transitional early piece from Boeotia Thebes 3 and an early Parian example Louvre MND 888 FileKouros from thebesjpgThebes 3 ImageKouros Asclepeion Paros LouvrejpgAscleeion kouros Louvre 阿納維索斯皮通 12 雕像群 C 540520 BC this is the era of the Peisistratos dynasty and marks 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 Sshaped The head is now spherical and welldeveloped The tragus takes on its natural form the antitragus is also indicated Hair occasionally descends as far as nape of neck The sternomastoids when marked are indicated by modelled shapes Their attachment to sternum and clavicles 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 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 is semipronated 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 the which is dated on external evidence before 525 BCHerodotus III578 based of course on the orthodox chronology and not the VickersFrancis revised chronology therefore allowing time for the maturation of the style we can date the beginning of this group to roughly a generation priorRichter Kouroi p115 The earliest is perhaps the Munich kouros Glyptothek 169 judging by the rendering of some of the muscles Other significant Attic kouroi in this style are the Anavyssos Base reads Stand and mourn Kroisos first in line of battle and whom Ares God of War killedNAMA 3851 the akropolis torso Akropolis 665 596 and the Rayet head Carlsberg Glyptothek 418 The island of Keos supplies us with one of the best examples of the time NAMA 3686 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 the Ptoan sanctuary in Boeotia we have the Ptoon 12 kouros NAMA softer less sturdy suggests RichterRichter Kouroi p113 it is she asserts a native Boeotian product and not an Athenian import File0006MANKouros2jpg 克羅伊索斯青年雕像 ImageMünchner Kouros Glyptothek Munich 169jpg 慕尼黑的庫洛斯 FileNAMA Statue of a KourosjpgAthens NAMA 4890 Kouros from Merenda 皮通 20 雕像群 C 520485 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 sshape 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 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 DelphiRichter Kouroi pp12930 Architecturally earlier than the Hekatompedon of Athens the Delphi temple has a probable date of c520 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 bowThough other origins have been suggested see Deonna p158 f 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 c500 BC after which it seems to peter outRichter Kouroi p127 Important late kouroi from Athens include the Aristodikos kouros Ptoon 20 group NAMA 3938 an akropolis statuette NAMA 6445 and the bronze Apollo from PiraeusRichter Kouros p136 159 bis FileAgrigent Museum Statue Young ManjpgAgrigento ephebe Richter 182 FileKouros british museumJPGBM B475 from Anaphe FileNAMA 3938 Aristodikos KourosJPGLate Athenian Aristodikos Kouros FileKouros di reggio calabriajpgKouros of Reggio Calabria File7262 Piraeus Arch Museum Athens The Piraeus Apollo Photo by Giovanni DallOrto Nov 14 2009jpgPiraeus Apollo 相關條目 克琉比斯和比同 克羅伊索斯青年雕像 古希臘藝術 雅典國家考古博物館 參考文獻 參考書目 Boardman J Greek Sculpture The Archaic Period a handbook 1991 Buschor E Frühgriechische Jünglinge 1950 Caskey LD The Proportions of the Apollo of Tenea American Journal of Archaeology 73 1924 Deonna W Les Apollons Archaïques étude sur le type masculin de la statuaire greque au VIme siècle avant notre ère 1909 Guralnick Eleanor Profiles of Kouroi American Journal of Archaeology Vol 89 No 3 Jul 1985 pp 399409 Guralnick E The Proportions of Kouroi American Journal of Archaeology 1978 Richter Gisela MA A Handbook of Greek Art Third Edition 1963 Richter GMA Kouroi Archaic Greek Youths A study of the development of the Kouros type in Greek sculpture 1960 Ridgway RS The Archaic Style in Greek Sculpture 2nd edition 1993 Stewart A Greek Sculpture 1990 Franssen J Votiv und Repräsentation Statuarische Weihungen archaischer Zeit aus Samos und Attika Verlag Archäologie und Geschichte Heidelberg 2011 Archäologie und Geschichte Bd 13 相關連結 青年雕像 泰內亞彩色青年雕像修復 Category 古希臘 Category 青年雕像