Polykleitos in the context of "Fillet (clothing)"

Aphrodite Areia (Ancient Greek: Ἀφροδίτη Ἀρεία) or "Aphrodite the Warlike" was a cult epithet of the Greek goddess Aphrodite, in which she was depicted in full armor like the war god Ares. This representation was found in Sparta and Taras (modern Taranto). There were other, similarly martial interpretations of the goddess, such as at her Sanctuary at Kythira, where she was worshiped under the epithet Aphrodite Urania, who was also represented as being armed. The epithet "Areia", meaning "warlike", was applied to other gods in addition to Aphrodite, such as Athena, Zeus, and possibly Hermes.

The association with warfare contradicts Aphrodite's more popularly known role as the goddess of desire, fertility, and beauty. In the Iliad, Aphrodite is portrayed as incompetent in battle, being wounded in the wrist by Diomedes under the guidance of Athena, and she is reminded of her role as a love goddess rather than a war goddess like Athena by Zeus. It is possible, however, that this representation was deliberate to assert the Ionian interpretation of Aphrodite, which did not portray the goddess with warlike aspects, as the "correct" version.

Ageladas /ˌædʒəˈleɪdəs/ (Ancient Greek: Ἀγελάδας Agelā́dās) or Hagelaedas /ˌhædʒəˈliːdəs/ (Ancient Greek: Ἁγελᾴδας Hagelā́idās) was a celebrated Greek (Argive) sculptor, who flourished in the latter part of the 6th and the early part of the 5th century BC.

Ageladas' fame is enhanced by his having been the instructor of the three great masters, Phidias, Myron, and Polykleitos. The determination of the period when Ageladas flourished has given rise to a great deal of discussion, owing to the apparently contradictory statements of the writers who mention his name. Pausanias states that Ageladas cast a statue of Cleosthenes (who gained a victory in the chariot-race in the 66th Olympiad) with the chariot, horses, and charioteer placed at Olympia.

Contrapposto (Italian pronunciation: [kontrapˈposto] 'counterpoise'), in the visual arts, is a human figure standing with most of its weight on one foot, so that its shoulders and arms twist off-axis from the hips and legs in the axial plane.

First appearing in Ancient Greece in the early 5th century BCE, contrapposto is considered a crucial development in the history of Ancient Greek art (and, by extension, Western art), as it marks the first time in Western art that the human body is used to express a psychological disposition. The style was further developed and popularized by sculptors in the Hellenistic and Imperial Roman periods, fell out of use in the Middle Ages, and was later revived during the Renaissance. Michelangelo's statue of David, one of the most iconic sculptures in the world, is a famous example of contrapposto.

Classical Greek sculpture has long been regarded as the highest point in the development of Ancient Greek sculpture. Classical Greece covers only a short period in the history of Ancient Greece, but one of remarkable achievement in several fields. It corresponds to most of the 5th and 4th centuries BC; the most common dates are from the fall of the last Athenian tyrant in 510 BC to the death of Alexander the Great in 323 BC. The Classical period in this sense follows the Greek Dark Ages and Archaic period and is in turn succeeded by the Hellenistic period.

The sculpture of Classical Greece developed an aesthetic that combined idealistic values with a faithful representation of nature, while avoiding overly realistic characterization and the portrayal of emotional extremes, generally maintaining a formal atmosphere of balance and harmony. Even when the character is immersed in battle scenes, their expression shows to be hardly affected by the violence of the events.

Myron of Eleutherae (480–440 BC) (/ˈmaɪrən/; Ancient Greek: Μύρων, Myrōn [mý.rɔːn]) was an Athenian sculptor from the mid-5th century BC. Alongside three other Greek sculptors, Polykleitos, Pheidias, and Praxiteles, Myron is considered as one of the most important sculptors of classical antiquity. He was born in Eleutherae on the borders of Boeotia and Attica. According to Natural History, a Latin encyclopedia by Pliny the Elder (AD 23 – 79), a scholar in Ancient Rome, Ageladas of Argos was his teacher.

None of his original sculptures are known to survive, but there are many later copies of his works, such as his Discobolus, mostly Roman.

The Doryphoros (Greek Δορυφόρος Classical Greek Greek pronunciation: [dorypʰóros], "Spear-Bearer"; Latinised as Doryphorus) of Polykleitos is one of the best known Greek sculptures of Classical antiquity, depicting a solidly built, muscular, standing warrior, originally bearing a spear balanced on his left shoulder. The lost bronze original of the work would have been cast circa 440 BC, but it is today known only from later (mainly Roman period) marble copies. The work nonetheless forms an important early example of both Classical Greek contrapposto and classical realism; as such, the iconic Doryphoros proved highly influential elsewhere in ancient art.

Polykleitos the Younger (Ancient Greek: Πολύκλειτος; fl. c. 4th century BC) was an Ancient Greek sculptor of athletes. His greatest achievements, however, were as an architect. Polykleitos the Younger was the architect of the Theatre and Tholos at Epidaurus. Started around 360 BC, the Tholos exhibited elaborate detailing, especially on the Corinthian capitals of its interior columns. These columns would influence most later designs for that order. He was the son of the Classical Greek sculptor Polykleitos, the Elder. Later in his life, Polykleitos built many other works of art, most of his work on athletes.

Mathematics and art are related in a variety of ways. Mathematics has itself been described as an art motivated by beauty. Mathematics can be discerned in arts such as music, dance, painting, architecture, sculpture, and textiles. This article focuses, however, on mathematics in the visual arts.

Mathematics and art have a long historical relationship. Artists have used mathematics since the 4th century BC when the Greek sculptor Polykleitos wrote his Canon, prescribing proportions conjectured to have been based on the ratio 1:√2 for the ideal male nude. Persistent popular claims have been made for the use of the golden ratio in ancient art and architecture, without reliable evidence. In the Italian Renaissance, Luca Pacioli wrote the influential treatise De divina proportione (1509), illustrated with woodcuts by Leonardo da Vinci, on the use of the golden ratio in art. Another Italian painter, Piero della Francesca, developed Euclid's ideas on perspective in treatises such as De Prospectiva Pingendi, and in his paintings. The engraver Albrecht Dürer made many references to mathematics in his work Melencolia I. In modern times, the graphic artist M. C. Escher made intensive use of tessellation and hyperbolic geometry, with the help of the mathematician H. S. M. Coxeter, while the De Stijl movement led by Theo van Doesburg and Piet Mondrian explicitly embraced geometrical forms. Mathematics has inspired textile arts such as quilting, knitting, cross-stitch, crochet, embroidery, weaving, Turkish and other carpet-making, as well as kilim. In Islamic art, symmetries are evident in forms as varied as Persian girih and Moroccan zellige tilework, Mughal jali pierced stone screens, and widespread muqarnas vaulting.