An Interpretation and Analysis on the Polychromy of Attic Korai from Votive and Funerary Contexts

Abstract

The characteristic woman of Archaic Greek sculpture, the kore (pl. korai) stands proud, rigid, frontal, and omnisciently smirking at her viewer with the famous Archaic smile. She has been interpreted as an attendant, goddess, or deceased maiden, wearing representations of draped diaphanous robes, jewelry, and bearing offerings. Yet where her now clean marble surface exists once was intricately illuminated with vibrant pigments, inlaid stones, metals, and often accompanied by accessories of various materials. Recent advancements in analytical techniques have enabled scholars to delve deeper into the study of these sculptures, uncovering traces of pigments which would otherwise be left undetected. However, the image that these colours paint has yet to be thoroughly analysed and a history of intentional removal and surface cleaning has postponed a complete evaluation of the sculptures. In Attica, from the sixth to the early 5th century BCE, korai reflect stylistic progression and variation within and between archaeological contexts. A palette of colours was used to display features now lost to the modern eye. This paper examines the korai, proposing meaning through colour, patterns, and representations. Using polychrome reconstructions, spectral data, pottery, archaeological evidence, and ancient literary sources, the author interpreted the polychromy and decorative elements of Attic korai from votive and funerary contexts. Asking questions on symbolism, utility, cultural connection, and identity of the sculptures; this paper explains the use of pigments in relation to the symbolism of the sculptures and to their role in the greater framework of the Archaic Greek world.