Sculpture of Theseus in the Art of Ancient Greece

The Classical period and the Hellenistic Age were the milestones of art in ancient Greece. This essay compares and contrasts two types of sculptures: The Classical, the “Kritios Boy,” and the Hellenistic, the “Terme Boxer.” Throughout the analysis of the two sculptures, there will be a short explanation of the unique techniques used, including some ideas or themes of the period and even political changes that took place.

In the Classical sculptures, the techniques used were symmetrical and frontal same as the Archaic Greek; however, its arrival was mainly on continuous realistic and naturalistic yielding of the human form.

(Palagia, 2). The anatomical aspects of the human body, such as muscles, bones, and curves, were strongly protruding. For that reason, most likely, this is why most of the classical sculptures revealed nudity. In addition, one important technique sculpture artists used was the contrapposto, a “representation of the human figure showing the shifting and balancing of weight, usually with the weight borne on one leg and the other leg bent” (Stansbury-O’Donnell, year 237). On the other hand, in the Hellenistic sculptures, one can see more movement, individualism, and emotions. Also, many different styles were used at the same time because of its cosmopolitan culture. (347, 348).

There are definitely some similarities between the classical and the Hellenistic sculptures. It is important to say that the style and proportions of the Hellenistic figures bring back classical works. (343). In my opinion, the shifting and the balancing of weight are characteristics seen in both sculptures. Thus, I think both sculptures portray the beauty of the human body.

One reason I chose the “Kritios Boy” as a classic sculptural example is that one can see a naturalistic form and its popular first systematic action of the new classical style. It is important to see how the Kouros look is replaced by a natural form. Moreover, the Kritios Boy bullseyes the transitional style of 500 – 480 BCE; it represents a symbol of Athenian democracy as well. It probably represented Theseus, a hero. (Palagia, 3). In this figure, the artist is demonstrating a youth look where its cheeks and flesh show the Severe Style that applies to the works of the early classical period, 480 – 450 BCE. (Stansbury-O’Donnell, 237). Likewise, to my understanding, it is not hard to imagine that the sculptor who made the Kritios Boy was trying to depict to his audience of how strong and powerful Athen was during the fifth century through the vigorous, active, and young-looking boy.

Contrary to the Kritios Boy, the Terme Boxer is a Hellenistic statue. The Terme Boxer is from the baroque style because of its bulging muscles and distorted pose. (Blackwell, 366). With its hand wrapped for boxing, one can unmistakably see that he is a boxer. Furthermore, the face of this boxer showed some extreme tiredness, surprisingly not with a tortured emotion. However, with the artist’s preference for using bronze for the upper surface of the sculpture, one can observe the cuts, bruises, and even blood on the boxer figure. In addition, by means of this sculpture, one can learn the theme or ideals the artist was trying to display with the Terme Boxer. For instance, boxing was a crown sport at the Olympic games, Blackwell says. However, it is interesting to notice that this boxer was probably a slave rather than a victorious elite athlete. Needless to say, the sport depicted signs of blood and death, therefore, showing the sudden turn of his head in a substantial touch. Sadly to say, by his prepared-to-obey look, the boxer is obviously someone who did not control his destiny as some of the elite athletes or perhaps of a higher social group. (366).

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