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September 15 2013

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The two lines representing the juncture between the torso and therefore the hips are irregular, again thanks to a more accurate portrayal of an actual male physique.

The hair is long and braided, swept back from the high forehead and utterly uncovering the ears in the process, also.

It is not difficult to determine that both the Kouros and Diadoumenos statues represent male figures.

The feminization in Kouros begins with the hair and proceeds down.

In distinction, the statue of Diadoumenos possesses the more rugged, mature features of a male physique.

The plain of the pectoral muscles is more rounded from top to bottom than that of Kouros, and the bottom curve is straighter and fewer emphasised, representing the more realistic instead of idealized look of a person's chest.

The pectoral region is well outlined, however its bottom curve has additional 'dip' in it than the well-muscled male chest would possess (the actual fact quickly confirmed when looking at the pectoral region of Diadoumenos), therefore taking it nearer to the looks of female breasts.

Nevertheless, the differences between the 2 are putting: Kouros, while not exactly androgynous, possesses numerous characteristics pointing at the feminization, therefore representing the idealization the Ancient Greeks' robust erotic interest in male youths; on the other hand, Diadoumenos possesses a additional rugged, thick physique emphasizing strength of an adult male body over the more softly curving lines of a young adult.

This is additional supported by the approach the 2 statues are positioned: Kouros is perfectly straight, with feet barely apart, head held high, and arms hanging down at his sides, whereas Diadoumenos is caught in the act of tying a fillet around his head.

In fact, it is straightforward to argue that if the head of Kouros is viewed separately from the remainder of the statue, it could be said to belong to a lady simply as simply on a man.

The face is thinner from the front but more stuffed out in profile, with deep-set eyes, the same aquiline nose, however thinner lips and stronger, more pointed chin.

This ends up in less emphasis being created on the genital region, though when the lines do return together there, they do therefore above the well-developed scrotum, signifying a absolutely matured adult male.

The Greek statue emphasizes beauty in type, while the Roman statue offers more attention to beauty in action.

The braids hang loosely however evenly down the youngster's back.

The waist, while narrower than the shoulders, remains thick with muscles, with both the front and aspect abdominals well outlined, and even the muscles covering the ribcage clearly visible.

The hair, while thick, is cropped short, more for comfort than for show, and both the forehead and ears are lined.

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This assurance goes even beyond the plain presence of male genitalia; both figures possess broad shoulders, powerful arms and pectoral region, and a robust neck typical of a male physique.

Even the typically Mediterranean aquiline nose does not detract from the femininity of the face.

The biggest difference, though, is during the muscle tone.

The shoulders, while wide, haven't any defined musculature.

Finally, each the feet and the hands of the statue are well outlined, showing the stress on the entire beauty of the body rather than on just bound elements of it.

The arms are well muscled, however they're hanging loosely down the length of the statue's body, concealing the ability residing in those biceps and forearms.

The hands, still as the feet, are the smallest amount-defined body parts in Kouros, implying that the artist gave them very little importance, instead concentrating on the pinnacle, torso, hips, and higher legs.

The juncture between the underside of the torso and also the high of the hips is represented because the 2 lines narrowing from the hips to return along at the statue's genitalia.

This may be a quite common visual technique of concentrating the viewer's attention, and during this case, the artist clearly wishes to concentrate attention on the statue's genitalia.

The abdominal area is poorly defined, and therefore the waist narrows quickly from underneath the armpits to the high of the hips - another feminizing feature of the statue.

Aside from the hair, the face is probably the most feminine feature, with high arching eyebrows (implying that they are not natural, but rather plucked and painted), large, almond-shaped eyes, thick lips, and soft chin.

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