A Late Archaic Kouros from Euromos

A Late Archaic Kouros from Euromos

Suat Ateşlier / Murat Çekilmez at -123 level. It was accessioned by the Bodrum Museum of Underwater Archaeology under inventory number 57 11 . The kouros torso is 49 cm tall and 47 cm wide and is made of fine crystalline white marble. Only a part of it preserved, from neck to waist, the left arm as far as the wrist. Fifteen horizontal and five vertical lines of bead-hair sets falling onto the back can be observed. The head, neck, the right part of the body and the part below the waist of the standing kouros wearing a long chiton and himation, are missing. Additionally, small breaks and wear have occurred in various places ( fig. 2-7).

Archaeology under inventory number 6533, resembles the Euromos find in terms of its shoulder width and ringlets falling onto the shoulders. In both examples, it can be observed that the ringlets become wider towards the shoulders and that the hair beads thicken. The Euromos example must be contemporary with the Keramos one, which is dated to about 550-540 BC.

A further kouros 24 found in Halikarnassos, also kept in the Bodrum Museum of Underwater Archaeology under inventory number 6771, is typologically similar to the torso of Euromos. This sculpture of a young man made of marble is missing its head from the upper part of the neck, its right arm from the elbow, and its legs from the patellas downward. Some parts of the ringlets of the young man, whose arms are adjacent to its body, fall onto its shoulders. Its dress falls from the left shoulder and concentrates on the left leg. While the animated left leg is placed to the front, the right leg carries the weight of the body at the rear. The hip is protruding due to the position of the left leg. Some parts of the hair, which covers the nape of the neck and falls onto the shoulders, have survived. The curves extending from the left shoulder to the right part of the waist at the rear are similar to the Euromos example. The Halikarnassos sculpture, which has been dated to approximately 530 BC, must be contemporary with the Euromos torso due to similarities in posture, dress structure, and the horizontal curves stretching from the right part of the waist to the left shoulder.

Another example for comparison is the kouros discovered in Myus, which is kept in the Berlin Staatliche Museum with the inventory number Sk. 1664 25 . This kouros, found by T. Wiegand in 1908 in the lower terrace of the temple, is similar in terms of its posture, position, and dress structure. Stretching from the neck to the feet, the long chiton that the statue is dressed in is known as an ependytes. The long chiton of the Myus example features a meander motif of red colour. When we compar it to the Euromos kouros, we see that both examples represent young men wearing a himation over a long chiton, the himation falling from the left shoulder. The left leg is placed to the front and is animated, the right leg is at the rear and is stable; and horizontal curves from the right 24 The so-called Genelaos Group discovered in Samos 27 offers also potential to establish further comparisons 28 . One item in the in Genelaos Group is a statue of a young man lying on a cushion wearing a similar type of coat. The sculpture of a standing and clothed young man from the same collection, is of a similar type in terms of its posture and animated structure of the left leg. The chiton, worn over a himation, falls from the left shoulder to the front and rear. The curves, which center especially on the leg, stretch from the right part of the body to the left leg and show a plastic structure. The torsos of two young men found in Samos 29 , partly preserved 28 , are of similar types to the Euromos example. The arms were adjacent to the body and the left legs were animated in the Samos finds. The curves of the coats centered on the front leg due to the position of the left leg. The findings of Samos must be contemporary with the sculpture of Euromos due to their postures, positions, and structures of their curves.

In another sculpture found in Samos, preserved nearly unbroken 29 , thick neck and bead-hair sets combed backwards are featured. The hair falls onto the shoulders expanding sideways, in a similar manner to the Euromos torso. The body is athletic and well-built, reminiscent of sportsmen. The arms, partly preserved, are adjacent to the body. The left side of the body must have been more animated because the left leg is to the front and animated while the right leg is to the rear, still and is carrying the weight of the body. For this reason, the curves center on the left leg and take on a plastic structure. The curves of the chiton, which are especially concentrated between the legs, lengthen vertically until the feet. Depth is given to the sculpture through the animation. The Samos kouros, which Richter included in the Melos group, displays characteristics of the late Archaic period.

Another similar example is a statue that was probably found in Miletos, and is now in the Louvre

Typological Evaluation

When we examined the torso in the light of similar examples, it was established that the kouros was standing and dressed (see fig. 6). Although the chiton marks were not maintained at the bottom, similar west Anatolian examples show that the youths in this style wore a round collar chiton 12 . The himation, worn over a chiton, falls from the left shoulder to the front and rear. The curves, which stretch from the right-hand side of the body to the left leg and are concentrated over the left leg, have a plastic structure. Although the head and neck of the kouros are missing, fifteen horizontal and five vertical lines of bead-hair sets falling onto the back can be observed. Similar examples show hair falling on the shoulders and widening sideways. On this basis, it is understood that the shoulders were broad, upright, and strong. Reminiscent of sportsmen, the body is athletic and well-built. The arms, which are partly in place, are adjacent to the body. The left part of the body appears to be more animated, possibly in relation to the position of the left leg. While the left leg is being presented to the front and animated, the right leg is carrying the weight of the body to the rear. For this reason the curves center on the left leg and have a plastic structure. It was realized that the chiton curves, especially those between the legs, ran vertically 11 Yıldız 2002, 18, fig. 5-8; Museum inventory number: 7245; excavation inventory number: 57. We thank Yaşar Yıldız, former director of the Bodrum Museum of Underwater Archaeology, archaeologist Erhan Özcan, and experts for their support in the examination of the work. 12 Blümel 1963, 64, no. 69, 217-219, Lippold 1950Richter 1960, 155;Weber 1974, 769;Langlotz 1975, 111;Özgan 1978, 100ff., fig. 18-19;Ramage 1978, 52, no. 8, fig. 55-57;Akurgal 1986, 4;Barletta 1987, 245;Brinkmann 2003, no. 189, fig. 189;Kyrieleis 1996, 111ff. up to the feet. On the back, horizontal curves stretching from the left shoulder to the right part of the waist can be seen. The hip of the kouros, which gained depth in relation to the position of the left leg, was sculpted protruding and the himation was made wider in this area. All in all, the torso features characteristics of the late Archaic period with its wide shoulders, flat chest, the position of the left leg, the curves on the left leg, and its general posture.

Similar The Euromos kouros may be dated in the light of similar examples and through its style. Our first example for comparison is another kouros kept in the Bodrum Museum of Underwater Archaeology. It was purchased by the museum, and was probably discovered in or near Euromos 22 . The muscles of this kouros can be defined as plastic and it can be seen that the body and anatomical details gave some sense of depth. The shaping of the shoulder shows a near-natural form. The positioning of the inner part of the elbow toward the body of the kouros, and the biceps along with the pectoral muscles which have a lifelike quality show that the work belongs to the late Archaic group.

Another kouros 23 , found in Keramos, and also kept in the Bodrum Museum of Underwater 13 Richter 1960, fig. 620-623;Özgan 1978Özgan , 216, no. 20. 14 Çakmakçı 2006Özgan , cat. 17, pl. 19, fig. 1-2. 15 Yıldız 2002Özgan , 26, fig. 29-32. 16 Özgan 1978Çakmakçı 2006Çakmakçı , cat. 3, pl. 5, fig. 1-4. 17 Çakmakçı 2006Çakmakçı , cat. 7, pl. 9, fig. 1-2. 18 Richter 1960Akurgal 1961, 229, fig. 195-197;Pedley 1976, 50. 19 Richter 1960, fig. 616-619. 20 Freyer-Schauenburg 1974, pl. 4, 51-55, 59-61. 21 Robert 1953Robert/Robert 1983, 14-64, fig. 35;Çekilmez 2016, 537-540; similar to other marble examples, young man figurines dressed in himation over a chiton occur sometimes as plastic work and sometimes in aryballos form. Plastic curves occur stretching to below the waist from the left of the shoulder due to the position of left leg of the figurines engraved on a base and standing. While the hands reach down on both sides of the waist, the left leg is given animation and the right leg steadily carries the weight of the body, see also Mollard-Besques 1954, pl. XXV, B 200-B201;Rubensohn 1962, 139, pl. 25, no. T 32, 166, pl. 32, no. 91b;Higgins 1967, 36, pl. 14D;Rohde 1968, fig. 5a, 6b;Vafopoulou-Richardson 1991, 17-18. 22 Yıldız 2002, 26, fig. 29-32. 23 Çakmakçı 2006, res. 1-2.

Suat Ateşlier / Murat Çekilmez

Museum 30 . This kouros, included by Richter in the Melos group, is similar to the Euromos torso, and is dressed alike in a himation over a chiton. It can be observed that the left leg of the figure, maintained until the upper part of the feet, is to the front and animated and the right leg is to the rear and still. The curves concentrate on the leg due to the animation of the left leg. Similarly, an apparent "S" profile was formed by the creation of a protruding hip. The ends of the underlying dress stretching to the elbows show that the young man wore a round collar chiton. The arms adjacent to the body are in harmony with the animation. Unlike the Euromos sculpture, the hair falls onto the shoulders over the ears and extends until the upper part of the waist. The Euromos sculpture is similar to the Miletos example in terms of the position of its left leg, curves concentrated on the left leg, and the profile of the hip.

In the young man's sculpture that Richter included in the Melos group and which was found in Apollonia 31 , the head from the upper part of the neck, the arms from the elbows and the feet are broken. In a similar way to the Euromos example, the maintained ringlets of the young man, whose arms are adjacent to the body, fall onto the shoulders. The dress falls from the left shoulder and concentrates over the left leg. The right leg carries the weight of the body at the rear while the animated left leg was sculptured to the front. The hip was created protruding due to the position of the left leg. At the rear, the curves extending from the left shoulder to the right part of the waist are similar to the Euromos example.

The kouros found in Pitane and kept in the Bergama Museum of Archaeology with the inventory number 19 is another of our comparison examples 32 . Dated to 540-530 BC, the kouros is dressed in a himation over a chiton, in a similar fashion to the Euromos example. It can be seen that the figure, which has been preserved unbroken except for small areas of wear, has the left leg to the front and is animated while the right leg is to the rear and still. The curves concentrate on the left leg due to the position of the left leg. Similarly, an apparent "S" profile was formed on the creation of a protruding hip. The arms are adjacent to the body harmonized with the animation. The Euromos 30 Richter 1960, fig. 616-623. 31 Richter 1960, fig. 620-623. 32 Richter 1960Akurgal 1961, 229, fig. 195-197;Pedley 1976, 50. torso is similar to the Pitane sculpture in terms of its posture, the position of the left leg, the curves concentrating on its left leg and the protrudation of its hip.

The Euromos kouros must be from the third quarter of the 6 th century BC (550-525 BC) in the light of the typological comparisons and stylistic evaluations carried out with similar examples. Similar to the marble examples from the same period in western Anatolia, the terracotta young man figurines dressed in himation over a chiton sometimes appear to us as plastic, sometimes as aryballos forms. With the animation of the left leg of the figurines sculptured standing on quadrangular base, there are plastic curves running to the lower part of the waist from the left part of the shoulder. While the hands are reaching down on the two sides of the waist, the left leg is sculptured animated and the right leg carries the weight of the body 33 .

A Late Archaic Kouros from Euromos bases belonging to a votive group. Kosmopoulos, in her study evaluating Archaic sculpture bases and iconographies, obtained some iconographical data about the presentation of votive statues. According to Kosmopoulos, votive sculptures establish bonds between immortals and mortals, and votive sculptures offered by the mortals because of the religious reasons, support the good relationships between the gods/goddesses and human 37 . A kouros found at Miletos supports this opinion. "Dionysermos, son of Antenor" is written on the body of the Miletos kouros which is kept in the Louvre Museum in Paris 38 .

Typological and iconographical comparisons carried out with similar examples indicate that the Euromos sculpture represented a young man who was dressed and standing. It is thought that this statue was probably placed in a temple/naiskos in Euromos in the Archaic period by a young man as a votive offering for a religious purpose. There exists a large number of votive statues, especially of young men consecrated to Hermes or Apollon, and of young girls consecrated to Artemis after their juvenescence or death 39 . Similarly, votive statues were consecrated to Hermes or Apollon for young men when they died, or finished childhood, or began adolescence or ephebic age 40 .

The discovery of dressed young men's statues in settlements such as Miletos and Samos in west Anatolia whose temples were dedicated to goddesses brought forward the idea that the Archaic period temple in Euromos might also have been dedicated to a goddess.

The iconography of the well-maintained god/ goddess frieze shows that the cult was probably connected with Artemis/Hekate 41 . Beneath the winged horses, the leashed black dogs walk in the same rhythm as the chariots. It seems that the dogs and the chariots pulled by winged horses go towards the same destination 42 . 37 Six pedestals belonging to the Archaic period were examined in the study. The earliest is dated to the middle and late 7 th century BC. Another was dated to the first half of the 6 th century BC, three others are similar. Olympia and Delos are important discovery centers in terms of showing the characteristics of the period. Pedestals with figures were also seen in Athens in the 6 th century BC, see also Kosmopoulou 2002, 36. 38 Richter 1960, fig. 616-623. 39 Osborne 2004, 53ff. 40 Elderkin 1930, 454ff. 41 Ateşlier 2011, 281-288. 42 Ateşlier 2011 The kouros and a large number of archaic architectural terracottas were found in the same bothros, indicating a possible contemporaneity, as does the typological characteristics of the god figures on the chariots depicted in the frieze and those of the kouros. Ce volume réunit 27 communications présentées lors des 'Rencontres d'Archéologie de l'IFEA' consacrées aux périodes 'hautes' d'une région de l'Asie Mineure du sud-ouest : la Carie. Plusieurs études récentes ont sensiblement fait avancer les études cariennes, mais celles-ci se sont limitées à des champs chronologiques allant des Hékatomnides à la fin de l'empire romain. Il nous a donc semblé utile de proposer, autour d'un colloque et de sa publication, un état des connaissances pour les périodes antérieures aux Hékatomnides en offrant à la fois aux archéologues de présenter un matériel archéologique encore inédit, issu des fouilles récentes (souvent de sauvetage), et aux historiens d'exposer leurs dernières réflexions basées sur un matériel déjà connu mais dont les dernières découvertes permettaient d'en réinterpréter la signification.

This volume brings together 27 papers presented at the 'Rencontres d'Archéologie de l'IFEA' devoted to the 'early' periods of a region of southwest Asia Minor: Caria. Several recent studies have significantly advanced Carian studies, but these have been limited to chronological fields from the Hekatomnids to the end of the Roman Empire. It has therefore seemed useful to propose around a symposium and its publication a state of knowledge for periods prior to the Hekatomnids by offering both archaeologists to present unpublished archaeological material, resulting from recent (often rescue) excavations, and historians to expose their latest reflections based on material already known but reassessed in the light of new discoveries.

Iconographic Evaluation

In order to examine the reasons for the creation of young girl and young man sculptures in the Archaic period and styles, one should first determine their iconographic characteristics. In this context, the Euromos sculpture was examined iconographically in comparison with similar examples. Young men sculptures similar to the Euromos statue and dated to Archaic period were identified with Apollon in early studies. Later on, in addition to Deonna's opinion, new opinions based on heroization were formed. Data collected in those studies and inscriptions found on the sculptures showed that these types of sculptures represented young men 34 . Stewart saw the kouros sculptures as the incarnated beauty of physical and spiritual ideas along with aristocratic feelings 35 . Tanner thought that kouros statues were consecrated to gods/goddesses by the youth in order to increase religious feelings and to establish a bond between gods/goddesses and human beings 36 .

Other finds presenting important information about votive statues in the Archaic period are the 33 Mollard-Besques 1954, pl. XXV, B 200-B201;Rubensohn 1962, 139, pl. 25, no. T 32, 166, pl. 32, no. 91b;Higgins 1967, 36, pl. 14D;Rohde 1968, figs. 5a, 6b;Vafopoulou-Richardson 1991, 17-18. 34 Eaverly 1995. Deonna asserted in his study of 1909 that these statues represented Apollon. 35 Holtzmann 1993, 22ff. 36 Tenner 2006.