Throughout the Archaic period in the depiction of male kouroi sculptors began to make explorations in to characterization of their subject through the use of decorative anatomy, posture, and more natural depiction of the human body. The artists were allowed this freedom due to the accepted nudity of the male form in Greek sculpture at this time. In female sculpture and the characterization of kourai, however, artists had no such license. It would not be until the Classical period that characterization of females would be explored through more complex poses and anatomical naturalism. Thus, sculptors resorted to characterizing females through their clothing, hair styles, and the objects depicted with them. The Berlin Kore, depicted with a…show more content… Roman imperial coins, dating from between the 1st and 3rd centuries AD (a period of Roman artistic imitation and replication when the Romans admired the most archaic and ancient art) depict the “Anatolian Sisters” of Hera of Samos, Artemis of Ephesus, and Aphrodite of Aphrodisias all wearing the polos.
Like the polos, the pomegranate has been associated with the “Anatolian Sisters” of Hera, Athena, and Aphrodite in its function as a fertility symbol and as a symbol of the femine. Lynch proposes in her paper “The Domestication of Hera” that after around 600 B.C., as the Panhellenic image of Hera as the wife of Zeus, in which her fertility and sexuality now belong to her husband within marriage, “…the powers of one archaic fertility goddess had to be split among the Olympian goddesses to create a Panhellenic pantheon” (Lynch, 25). This division of the fertility goddess’s power amongst the Olympian goddesses could account for the similar symbolism used in all three cults. I, however, propose that the pomegranate has a unique relationship to each of the goddesses, and in these relationships reveal another aspect of feminine arete.
Prior to around 600 B.C. and the arrival of the first depictions of Zeus at Samos around 700 B.C. pomegranate