.

The connection of
Akhenetan and the
Kouros
ARH 3056
[Type the author name]

Word count: 1,171

King Solomons declaration that, there is nothing new under the sun clearly explains
the recycling of artistic concepts time and time again throughout the history of art. However,
this does not mean that they are used in the same way. In other words, although two statues from
the Renaissance and Roman Empire share some of the same artistic concepts, the artist and even
the viewer's perspective alter the intent and meaning under a Rorschach Test, based on the time
period from which it came. For a case study on this artistic Rorschach Test, we should turn our
attention to the art of Ancient Egypt and Greece; more specifically, the Colossal Figure of
Akhenaten from Egypts Armarna Period, and the Anavysos Kouros from the Greek Archaic
Period. Despite being made centuries apart, the statues are similar in that they both strive for a
more realistic, yet still idolized human figure. While each culture used this approach to
representation, the Colossal Figure of Akhenaten exalted the divinity of the ruler, whereas the
Anavysos Kouros served as the ideal representation of the nude male. Through comparing and
contrasting artistic practices in Ancient Egypt and Ancient Greece I will demonstrate how ideals
where utilized and transferred through art.
According to Stokstad and Cothren, researchers agree that the Pharaoh Akhenaten was
perhaps the strangest ruler in ancient Egypt1. The reason for this is mostly due to Akhenatens
sudden change in religion, which would lead to different styles of art. This religion, which
derived from the New Solar Theology2 would make the god Aten the supreme deity. This new
religion also affected the style of Egyptian art, which today is known as the Armarna period,
which is where our figure the Colossal Figure of Akhenaten, was built. The Colossal Figure
1 Marilyn Stokstad and Michael W. Cothren, Art History Volume 1 Fourth edition
(Upper Saddle River, New Jersey: Pearson Education Inc., 2011), 70
2 Erik Hornung, The Rediscovery of Akhenaten and his place in religion, Journal of
the American Reasearch Center in Egypt, Vol. 29 (1992), 48

(dating from 1353-1336 B.C.E.) differs from earlier works in Egyptian works. Unlike other
statues in Earlier Egyptian art-which was relatively stiff with many straight hard edges,
Akhenatins Colossal Figure is comprised of many soft curves. The figures proportions are also
feminine, particularly with the hips, which are almost as wide as the shoulders. The shoulder hip
ratio, along with Akhenatins full lips, combined with other more masculine features gives the
ruler an androgynous look.
However, Despite the sexual ambiguity, the figure was built to serve as a symbol of the
supremacy of Akhenatin, who holds the symbols of the pharaoh, the flail and the shepherds
crook. Also, it is a way of Akhenaten firmly exerting his authority. This is seen, first by the
sheer size of the Colossal Figure of Akhenatin, which measures at 16 feet.3 It must be noted that
the figure stood was near a temple complex called Karmak, where the old state gods were
worshipped.4 This implies that the changes Akenaten was making were not only controversial,
but perhaps highly debated as well. His response to criticism, is seems, was in the form of the
Colossal Figure of Akenaten, was to send the message that no matter what, he was in control.
Contrasting the Colossal Figure of Akhenaten is the Anavysos Kouros from the Greek
Archaic Period (dating 530 B.C.E.). Much like the Colossal Figure, the Anavysos Kouros is, in
terms of achieving a more naturalistic representation the human, in that the proportions and
rendering of the muscles is very close to an real person, albeit idealistic. Also, like the Colossal
Figure of Akhenaten, the Anavysos Kouros uses soft round curves to depict the figure 5 unlike the
3 Marilyn Stokstad and Michael W. Cothren, 70
4 Marilyn Stokstad and Michael W. Cothren, 71
5 Alex Philadelpheus, The Anavysos Kouros, The Annual of the British School at
Athens, Vol. 36 (1935/1936)

Egyptian statue, Kouros hip to shoulder ratio is more masculine, with its broad shoulders and
narrow waist. However, one of the most amazing things about the Anavysos Kouros is the
incredible leap of improvement over earlier Kouri. Take for example, the Metropolitan Kouros,
which was created around just 600 B.C.E. Even with just a thirty year gap, one can see the
multiple improvements in representing the human figure: in the Anavysos Kouros, the head is
smaller than in the Metropolitan Kouros, thus making it appear more proportional. Also, while
the Metropolitan Kouros had impressive detail such as the muscles, the Anavysos Kouros takes
this a step further by giving the muscles volume, or depth. However, despite the improvement in
technical skill, the Anavysos Kouros purpose remains the same as other Kouros such as the
Metropolitan Kouros: Represent an idealized male figure.
While there is only one Anavysos Kouros, it can be deduced that there are, or at least
were quite a number of Kouros. Some evidence for this includes the fact that there are different
inscriptions on different Kouros, which implies that they were individually commissioned.6 The
Anvysos Kouros in particular was found at a gravesite, with the inscription, Stop and grieve at
the tomb of the dead Kroisos, slain by wild Ares in the front rank of battle7. Although it is
presumable Kroisos grave where the Kouros was placed, it most likely not a likeness of Kroisos
himself,8 due to fact that like earlier Kouri, the Anvysos Kourus share a similar face (even
similar hairstyle) only with a more advance rendering and the tweaks in proportion. Add this to
the fact that many other Kouros have been found at gravesites9, it appears that the Kouros
themselves represent man.
6 Marilyn Stokstad and Michael W. Cothren, 114
7 Marilyn Stokstad and Michael W. Cothren, 115
8 Marilyn Stokstad and Michael W. Cothren, 115

This is a sharp contrast to the Colossal Figure of Ahkenaten, where to our knowledge
there is only one. Also bear in mind that the Colossal Figure, had a more spiritual/political
purpose (defiantly flaunting his newfound religion, while bluntly stating that he is Pharaoh, and
his will is law). The Kouros, without a stylized face looks more like the typical male, than a
specific one. Also keep in mind that the Colossal Figure stood at about 16 feet, while the
Anvysos Kouros stood at a more modest 64. This, along with the fact that there appeared to
have been many Kouros other than the Anvysos Kouros, implies that is served as a general
symbol for a multitude, as opposed to the singular Colossal Akhenaten.

Bibliography

9 Marilyn Stokstad and Michael W. Cothren, 114

Marilyn Stokstad and Michael W. Cothren, Art History Volume 1 Fourth edition (Upper Saddle
River, New Jersey: Pearson Education Inc., 2011)

Erik Hornung, The Rediscovery of Akhenaten and his place in religion, Journal of the
American Reasearch Center in Egypt, Vol. 29 (1992)

Alex Philadelpheus, The Anavysos Kouros, The Annual of the British School at Athens, Vol.
36 (1935/1936)