Archaic period in Greece in the context of "Zoster (costume)"

Smyrna (/ˈsmɜːrnə/ SMUR-nə; Ancient Greek: Σμύρνη, romanized: Smýrnē, or Σμύρνα, Smýrna) was an Ancient Greek city located at a strategic point on the Aegean coast of Anatolia. Due to its advantageous port conditions, its ease of defence, and its good inland connections, Smyrna rose to prominence. Since about 1930, the city's name has been İzmir.

Two sites of the ancient city are today within İzmir's boundaries. The first, probably founded by indigenous peoples, rose to prominence during the Archaic Period as one of the principal ancient Greek settlements in western Anatolia. The second, whose foundation is associated with Alexander the Great, reached metropolitan proportions during the period of the Roman Empire. Most of the ancient city's present-day remains date to the Roman era, the majority from after a 2nd-century AD earthquake. In practical terms, a distinction is often made between these. Old Smyrna was the initial settlement founded around the 11th century BC, first as an Aeolian settlement, and later taken over and developed during the Archaic Period by the Ionians. Smyrna proper was the new city to which residents moved as of the 4th century BC and whose foundation was inspired by Alexander the Great.

Kouros (Ancient Greek: κοῦρος, pronounced [kûːros], plural kouroi) is the modern term given to free-standing Ancient Greek sculptures that depict nude male youths. They first appear in the Archaic period in Greece and are prominent in Attica and Boeotia, with a less frequent presence in many other Ancient Greek territories such as Sicily.Such statues are found across the Greek-speaking world; the preponderance of these were found in sanctuaries of Apollo with more than one hundred from the sanctuary of Apollo Ptoion, Boeotia, alone.These free-standing sculptures were typically marble, but the form is also rendered in limestone, wood, bronze, ivory and terracotta. They are typically life-sized, though early colossal examples are up to 3 meters tall.

The female sculptural counterpart of the kouros is the kore.

The Temple of Aphaia (Greek: Ναός Αφαίας) is an Ancient Greek temple located within a sanctuary complex dedicated to the goddess Aphaia on the island of Aegina, which lies in the Saronic Gulf. Formerly known as the Temple of Jupiter Panhellenius, the Doric temple is now recognized as having been dedicated to the mother-goddess Aphaia. It was a favourite of Neoclassical and Romantic artists such as J. M. W. Turner. It stands on a c. 160 m peak on the eastern side of the island approximately 13 km east by road from the main port.

Aphaia (Greek Ἀφαία) was a Greek goddess who was worshipped exclusively at this sanctuary. The extant temple of c. 500 BC was built over the remains of an earlier temple of c. 570 BC, which was destroyed by fire c. 510 BC. Elements of this older temple were buried in the infill for the larger, flat terrace of the later temple, and are thus well preserved. Abundant traces of paint remain on many of these buried fragments. There may have been another temple in the 7th century BC, also located on the same site, but it is thought to have been much smaller and simpler in terms of both plan and execution. Significant quantities of Late Bronze Age figurines have been discovered at the site, including proportionally large numbers of female figurines (kourotrophoi), indicating – perhaps – that cult activity at the site was continuous from the 14th century BC, suggesting a Minoan connection for the cult. The last temple is of an unusual plan and is also significant for its pedimental sculptures, which are thought to illustrate the change from Archaic to Early Classical technique. These sculptures are on display in the Glyptothek of Munich, with a number of fragments located in the museums at Aegina and on the site itself.

The Mykonos vase, a pithos, is one of the earliest dated objects (Archaic period, c. 675 BC) to depict the Trojan Horse that appears in Homer's telling of the Fall of Troy during the Trojan War in the Odyssey. It was found in 1961 (with human bones inside) on Mykonos, the Greek island for which it is named, by a local inhabitant. Ìt is on display at the Archaeological Museum of Mykonos.

Heroic nudity or ideal nudity is a concept in classical scholarship to describe the un-realist use of nudity in classical sculpture to show figures who may be heroes, deities, or semi-divine beings. This convention began in Archaic and Classical Greece and continued in Hellenistic and Roman sculpture. The existence or place of the convention is the subject of scholarly argument.

In ancient Greek art, warriors on reliefs and painted vases were often shown as nude in combat, which was not in fact the Greek custom, and in other contexts. Idealized young men (but not women) were carved in kouros figures, and cult images in the temples of some male deities were nude. Later, portrait statues of the rich, including Roman imperial families, were given idealized nude bodies; by now this included women. The bodies were always young and athletic; old bodies are never seen. Pliny the Elder noted the introduction of the Greek style to Rome.

The Pieres (Ancient Greek,"Πίερες") were a Thracian tribe connected with the Brygi, that long before the archaic period in Greece occupied the narrow strip of plain land, or low hill, between the mouths of the Peneius and the Haliacmon rivers, at the foot of the great woody steeps of Mount Olympus. This region was named after them as Pieria (Greek: Πιερία).

Marcel Detienne (French: [dətjɛn]; October 11, 1935, Liège, Belgium – March 21, 2019, Nemours, France) was a Belgian historian and specialist in the study of ancient Greece. He was a professor at Johns Hopkins University, where he held the Basil L. Gildersleeve chair in Classics.

Along with Jean-Pierre Vernant and Pierre Vidal-Naquet, Detienne has sought to apply an anthropological approach, informed by the structuralism of Claude Lévi-Strauss, to classical and archaic Greece.

Kore (Greek: κόρη "maiden"; plural korai) is the modern term given to a type of free-standing ancient Greek sculpture of the Archaic period depicting female figures, always of a young age. Kouroi are the youthful male equivalent of kore statues.

Korai show the restrained "archaic smile", which did not demonstrate emotion. It was the symbol of the ideal, transcending the hardships of the world. Unlike the nude kouroi, korai are depicted in thick and sometimes elaborate drapery. As fashions changed, so did the type of clothing they wore. Over time, korai went from the heavy peplos to lighter garments such as the chiton. Their posture is rigid and column-like, sometimes with an extended arm. Some korai were painted colorfully to enhance the visual impact of the garments and for narrative purposes.