The Orientalizing Period lasted for about a century, from 700 to 600 BCE. This period was distinguished by international influences, from the Ancient Near East, Egypt, and Asia Minor, each of which contributed a distinctive Eastern style to Greek art. The close contact between cultures developed from increasing trade and even colonization. Styles were borrowed from others cultures by the Greeks transformed into a unique Greek-Eastern mix of style and motifs. Male and female sculptures produced during this time share interesting similarities but also bear differences that inform the viewer about society's expectations of men and women.
The Lady of Auxerre
A small limestone statue of a kore (maiden), known as the Lady of Auxerre (650-625 BCE), from Crete demonstrates the style of early Greek figural sculptures. This style is known as Daedalic sculpture, named for the mythical creator of King Minos's labyrinth, Daedalus. The style combines Ancient Near Eastern and Egyptian motifs.
The Lady of Auxerre, c. 650-625 BCE.
Limestone, possibly from Crete.
The Lady of Auxerre is stocky and plank-like. Her waist is narrow and cinched, like the waists seen in Minoan art. She is disproportionate, with long rigid legs and a short torso. A dress encompasses nearly her entire body— it tethers her legs together and restricts her potential for movement. The rigidity of the body recalls pharaonic portraiture from Ancient Egypt. Her head is distinguished with large facial features, a low brow, and stylized hair. The hair appears to be braided, and falls down in rigid rows divided by horizontal bands. This style recalls Near Eastern use of patterns to depict texture and decoration. Her face and hair are reminiscent of the Geometric period. The face forms an inverted triangle wedged between the triangles formed be the hair that frames her face. Traces of paint tell us that this statue would have originally be painted with black hair and a dress of red and blue with a yellow belt.
Lady of Auxerre reconstruction
A reconstruction of the original Orientalizing sculpture. Cambridge University.
The Mantiklos Apollo
There are no inscriptions on sculpture before the appearance of the bronze Mantiklos Apollo (early seventh century BCE) found in Thebes. The figure, named for the individual who left it as an offering, is that of a standing man with a rigid and somewhat Daedalic form. His legs bear the inscription, "Mantiklos offered me as a tithe to Apollo of the silver bow; do you, Phoibos [Apollo], give some pleasing favor in return." The inscription is a declaration of the statuette to Apollo, followed by a request for favors in return. Apart from the novelty of recording its own purpose, this sculpture adapts the formulae of later Orientalized sculptures, as seen in the shorter more triangular face and slightly advancing left leg. This is sometimes seen as anticipating the greater expressive freedom of the later seventh century BCE. As such, the Mantiklos figure is referred to in some quarters as proto-Daedalic.
Mantiklos Apollo
Bronze Early 7th century BCE. Thebes. The side view shows the separation of the figure's arm from his chest and his slightly advancing left leg.
Despite the separation of several decades and over 200 miles, the Mantiklos Apollo and the Lady of Auxerre share interesting similarities, including their long plaited hair, cinched waist, stylized smile, and hand raised to the chest--all of which recall ancient Egyptian sculpture. Although the right arm of the Mantiklos Apollo is missing, the position of its shoulder implies a possible position similar to that of the left arm of the Lady of Auxerre, straight at its side. However, we can already see striking differences that will remain the standard in Greek art for centuries. The male body, as a public entity entitled to citizenship, is depicted nude and free to move. This freedom of movement is seen not only in the legs of the Apollo figure but also in the separation of his hand from his chest. On the other hand, the female body, as a private entity without individual rights, is clothed and denied movement. While the Mantiklos Apollo holds his hand parallel to his chest, the Lady of Auxerre places her hand directly on hers, maintaining the closed form expected of a "respectable" woman.