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was the juvenile economic analysis, which proposes that the disappearance of the archaic kouroi was linked to some sort of disappearance of the aristocracy. Well for one thing with the growth of democracy the expense of most monumental sculpture was assumed by the state, so it did not have to disappear. For another, there was no disappearance of any aristocracy. It continued to play a leading role in the democracy. And why the 6th, why not the 5th? So, it appears to me the analysis is not a professional one and moreover does not summarize commonly held or well-known views. I think it crosses over the line into into an original essay - these are not views held in the field but are personal views nor are they a summary of anything. Sorry.
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are all male standing figures kouroi? There seem to be two camps here, Richter treats related figures (offering bearers, draped figures, warriors and bearded figures) as non-canonical kouroi, and
Ridgway excludes them in line with her thesis that kouroi represent Apollo. Ridgway would regard nakedness as an attribute in itself. My inclination is to follow Ridgway, since I don't believe we know enough about the placing or purpose of kouroi to say that other kouroi-like male figures functioned in the same way. But as always I welcome correction. Twospoonfuls (
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Sorry for not discussing this earlier, but I wanted to read
Ridgway 1993 before writing any more on this subject. Certainly that whole section needs a rewrite, and I intend to do so, but the point you raise poses an interesting problem of definitions: if kouroi are not defined by their nakedness then
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What struck me about it is its failure to conform to the mainstream analysis of the sculpture. Sculpted figures did not disappear from Greek art. They evolved from archaic ones into naturalistic ones. Otherwise they continued to find the same uses and the same market. The second thing that struck me
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were commissioned by aristocrats as offerings to temples, or by the families of aristocrats to place over their graves. Marble sculpture was very expensive and only the wealthiest could afford to pay sculptors to create these works.
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It be very useful if this article could illustrate an écorché with the major muscle groups and bones clearly labelled. I can't find one on commons, perhaps someone can help? Twospoonfuls (
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I think "failure to conform to the mainstream analysis of the sculpture" is not a valid criticism. (And in fact, the first two sentences are probably correct
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are therefore, a representation of the wealth and power of the Greek aristocratic class, and as this class lost its power in the sixth century, so the
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I don't know much about this subject, but I can send you “The Draped Kouros Type and the
Workshop of the Syracuse Youth” by B.A. Barletta (
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Many scholars consent to acknowledge that the early archaic sculpture took their influence from minoan art.
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as the name of a french community, as found generally and in
Knowledge. Maybe someone could fix. -
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on
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on
Knowledge. If you would like to participate, please visit the project page, where you can join
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has further information). Otherwise consider finding a replacement image before deletion occurs.
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91, No. 2, April 1987). FWIW, Ridgway herself uses the expression “draped
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The
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in the banner shell. Please resolve this conflict if possible.
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This article has been given a rating which conflicts with the
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This article has been marked as needing immediate attention.
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are always naked". Actually, there is a group of 35 draped
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File:Muscle posterior labeled.png
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went out of fashion both politically and artistically.
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