These notes on the beginnings of Greek sculpture contain little that has not been said before, but aim at applying a severer logic to the evidence and the conclusions drawn from it. The problems may be defined as what models were used by early Greek sculptors, why they chose those models, where the choice was made, and what the impulse was that induced them to take up this new art.The earliest surviving Greek sculpture worth the name is of the Daedalic style, which Jenkins has analysed neatly in his Dedalica. This style began in the second quarter of the seventh century and continued into the last quarter. So much is fairly generally accepted.The artistic influence of Egypt on Greece has been propounded since the eighteenth century, and there are still many students who see its effects in sculpture. Usually their arguments are very general, asserting similarity of types and technical methods rather than of style. Of the Archaic Greek types the kouros is most apparently comparable to Egyptian—an upright, four-square figure with arms held to its sides and one foot in front of the other. Except for the stance this is the most obvious pose for a standing figure, and there are essential specific differences, well defined by Schrader. The stock Egyptian male has a support behind the forward leg, tilts backwards, and wears a kilt; the Greek kouros stands free, has a more mobile poise and is naked (except in the Daedalic style for a belt). As for resemblances in detail, Richter and Carpenter single out the roll of stone clenched in the hand of some Greek kouroi; this does not seem a regular or very early feature, and it may be a technical coincidence to avoid hollowing the inside of the closed fist. The ‘layer wig’ of course, though of Egyptian origin, is not so common in Egyptian sculpture and was already naturalised in Phoenician and Syrian art.
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Jan 1, 1997
Carlos Rodriguez-Navarro + 3
