... Kore / Korai
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Kore / Korai
Michael Lahanas
Κόρη
Archaische Griechische Kunst: Die Kore
Part 1
In contrast to the Kouros the Kore (pl. Korai) (Κόρη ) (maiden) is never nude but clothed. This is also the reason why these sculptures look more diverse than the nude Kouroi. A large number of Korai were found in the Acropolis in Athens. Often the Kore is holding some offering to the gods they served.
Systematic studies started only around 1882 on the Acropolis mainly by the Greek archaeologist M. Kavvadias (who supervised the work since 1885). Even if the Turks left the Acropolis almost 50 years earlier parts of the postclassical buildings on the Acropolis had first to be removed.
Orientalizing Period (700-600 BC)
The Nikandre Kore (Νικάνδρη Κόρη) from Delos, c 650 BC, 1.75 m. Inscription found
Nikandre dedicated me to the Far-Shooter of arrows, the excellent daughter of Deinodikes of Naxos, sister of Deinomenes, wife of Phraxos
A daedalic kore from the island Samos (wood orxoanon), late 7th century BC
Statue of Hera dedicated by Cheramyes.
"Cheramyes dedicated me to Hera, as a gift" Samos. c. 560 BC , Louvre Museum, ParisKore, Heraion Samos, Louvre Ma686
The Lady of Auxerre (Κυρία της Ωξέρ), Daedalic style, after the legendary Daedalus (the skillful one). Probably from Crete, a limestone statuette of a goddess or maiden. Limestone, height 0.63 m, c. 640-630 BC. The Daedalic art, characterized by its triangular head and flat face. Now at the Louvre, Paris.
Phrasikleia Kore (Φρασίκλεια Κόρη ) by Aristion of Paros; Merenda in Attica, c. 550-540 BC National Archaeological Museum.
Theodorus of Samos made the first self-portrait, in bronze, remarkable for its "similitudo mirabilis" (Pliny 34. 83). This moment may be reflected by the statue of Phrasikleia, who bears undeniably peculiar features, even if the face as a whole cannot yet be regarded as “realistic.” Antonio Corso, The Position of Portraiture in Early Hellenistic Art Criticism.
Phrasikleia with one of her arm included!
"Marker of Phrasikleia
I could be called kore (maiden)
for ever instead of wedded
by the gods thus being named
[Aris]tion of Paros created me"
(Translated by Thomas Sakoulas)
“Phrasikleia holds a lotus at its breast by way of symbol of its continued and eternally unplucked state. Like the words of the inscription, the rosettes below each breast, and the additional lotuses, alternately half-open and closed, that wreathe the maiden's crown signal a blossoming into womanhood even as they affirm that this floraison has yet to occur. Together the different elements cohere in making the metonymic representation a visualization of the maiden in her social role, preserving her at the very threshold of the marriage to which she could once have aspired. ”, Deborah Tarn Steiner
The Peplos Kore (Πέπλος Κόρη) or Peplophoros (Πεπλοφόρος) , c. 530 BC, Acropolis Museum, Athens. The statues were usually painted using the encaustic technique (mixing of colored pigments with wax as a bonding agent and applied on the heated sculpture. The wax was used to seal the stone preventing its erosion. Different color reconstructions of the Peplos Kore. The umbrella like hat is a meniskos and is used as a weather and bird protection (But, if your award is against us, don't fail to have metal covers fashioned for yourselves, like those they place over statues; else, look out! for the day you wear a white tunic all the birds will soil it with their droppings. Aristophanes LEADER OF SECOND SEMI-CHORUS, Birds).
Reconstruction of the polychrome decoration of the Peplos Kore, 530/20 BC, under the features of the Artémis. Studye: Vinzenz Brinkmann. Restoration : Alfons Neubauer, Christoph Bergmann. Gilding: Sylvia Kellner. Painting: Ulrike Koch-Brinkmann. Original: Acropolis of Athens (Inv. n°679). Copy painted: Staatliche Antikensammlungen und Glyptothek. "Bunte Götter" exhibition in the version shown in Athens.
Peplos Kore, found 5/6 February 1886 in 4 pieces, put later together, west of the Erechtheion, Parian marble. Missing left lower arm, parts of the right hand, dress. Damaged nose, upper lip, drapery.
It is not agreed who was the inventor of painting in wax and doing pictures in encaustic. Some think Aristides discovered it and Praxiteles later perfected it, but there were encaustic paintings that were considerably older, such as those of Polygnotos. Pliny
Red Shoes Kore, c. 510 BC, Acropolis, Athens, Inscription of a two Korai dedication: Lysias dedicated to Athena an aparche, Euarchis dedicated a dekate to Athena. (Aparche (first-fruits) , Dekate (tenth): Two types of dedications). Kore with a bird, discovered 1882 E of the Parthenon in 4 parts.
The Euthydikos Kore “The sulky kore” ( Κόρη του Ευθυδίκου), marble, from the Athenian Acropolis. Carved by the same artist who made the Kritios Boy, c. 490 BC. Inscription found: Euthydikos, son of Thaliarchos, dedicated me (Base Image of the Kore - Copyright Deutsches Archäologisches Institut Athens.)
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chaische Griechische Kunst: Die Kore
Part 2
Colored version of the Kore from Chios, c. 520-510 BC
Painted Marble , kore no. 675
(Athens, Acropolis Museum)
Head found E of the Parthenon in 1886, two years later the body was found S of the Parthenon. Parian marble
Missing lower arms , found in three pieces, Green chiton with red/purple border with a pattern, The kore wears a stephane with a red palmette and a lotus pattern. 17 holes on the upper rim were used to include bronze ornaments
There is one reason that color traces were found since some of these sculptures were only a dew decades old when the Persian army entered in Athens (the Athenians left the city) and destroyed the Temples and partly also the sculptures on the Acropolis (Persian debris, "Perserschutt"). The Athenians did not repair the damaged sculptures but buried these where they remained until their discovery in 1885-1890 (part of the debris was found earlier around 1835). Since they were not exposed to the atmosphere, rain etc, part of the original color was preserved.
Kore 680 discovered 1885 on the Acropolis 530/20 BC
Antenor Kore with Ionic chiton and himation, 530-520 BC, Athens, Akropolis Museum Inv. 681
Found 5/6 February 1886 NW of the Erechtheion. Feets and plinth discovered earlier.
Missing nose, right lower arm, parts of the right hand fingers, lower legs.
The Inscription found is
Nearchos anetheken o kerameus ergon aparchin t'Athinaia. Antinor epoiesen o Eumarous to agalma
Kore, Acropolis Museum, Inv 670 Discovered 5/6 Feb, 1886 NW of the Erechtheion. Ionic Chiton
Lyon Kore (maybe Aphrodite or Hera ), c. 540 BC
Kore, Acropolis Museum Inv. 593, Discovered 1887 E of the Erechtheion.
Kore, Acropolis Museum Inv. 615, Red Chiton with green maeander border, yellow ochre hair color.
The "fleeing kore" from Eleusis early 5th century BC.
Antenor's kore
Athens, Akropolis Museum 681
Findspot: 'The greater part of the statue and the inscribed base were found in February 1886, north-west of the Erechtheion.'
'Island' marble
H. (incl. base) 2.155 m
Publication
Hurwit, Jeffrey M. 1999. The Athenian acropolis: history, mythology, and archaeology from the Neolithic era to the present (Cambridge: Cambridge University Press) 126, fig. 101 ('520-510')
Payne, Humfry Gilbert Garth, and Gerard Mackworth Young. 1936. Archaic marble sculpture from the Acropolis. London.
Richter, Gisela M.A. 1968. Korai: archaic Greek maidens. A study of the development of the Kore type in Greek sculpture (London: Phaidon Press) 69-70, figs. 336-340, no. 110.
This page was created by David Gill on 30 January 2002.
Photograph © David Gill, 2001
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© David Gill, 2001
'The Pomegranate Kore'
Find-spot: found in 1887 on the east side of the Erechtheion.
Akropolis Museum, no. 593.
Penetelic marble.
H. 99.5 cm
Colour: traces remain on the peplos and the epiblema.
Comments
Wreath in the right hand; a pomegranate in the right.
Dress: a chiton (observable on the upper right arm); a peplos, tied with a belt (notice the tassels); an epiblema (with tassels at corner).
Early use of the claw chisel.
Hurwit suggests that this kore was intended to be displayed against a wall.
Dating
'c. 560-550' (Hurwit)
'about 480-470' (Richter)
References
Dickins, Guy. 1912. Catalogue of the Acropolis Museum I (Cambridge: Cambridge University Press), 126 ff, no. 593.
Hurwit, Jeffrey M. 1999. The Athenian acropolis: history, mythology, and archaeology from the Neolithic era to the present (Cambridge: Cambridge University Press), 104, 105, fig. 74.
Payne, Humfry Gilbert Garth, and Gerard Mackworth Young. 1936. Archaic marble sculpture from the Acropolis (London), 9, pl. 12.
Richter, Gisela M.A. 1968. Korai: archaic Greek maidens. A study of the development of the Kore type in Greek sculpture (London: Phaidon Press), 40, figs. 147-50, no. 43.
This page was created by David Gill on 20 October 2001.
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GREECE - ancient art wasn't black&white
amarildo topalis
Uploaded on Dec 9, 2009
Its a video about ancient art, every statue had colors.
by Amarildo Topalis
duration 07:30 minutes
murrheather13
Published on Nov 25, 2012
Second attempt to get my video to work for my art history professor.
duration 04:12 minutes
https://www.youtube.com/watch?v=fIPjFYukyhM
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for more information, please visit the "The polychromy of Greek and Roman sculpture and architecture" web page
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The polychromy of Greek and Roman sculpture and architecture
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