拍品专文
This figure is harmonious in its proportions which characterize the Spedos type, being one quarter of the length for the head/neck, one quarter for the upper torso/arms, one for the thighs and one for the calves/feet. Other aspects also conform to the Late Spedos type, such as the straightness of the profile, the unperforated leg-cleft, shortness of the mid-section, and the preference for incision rather than for relief details.
The figure appears to be unique in the orientation of the upper forearm. The horizontal incision that marks the boundary between the two forearms does not continue to the figure's edge and the left forearm consists of a sloping groove rather than a horizontal one. The sculptor seems to have marked off the elbows of both arms and then the inner line of the arms in the same way. A simple diagonal incised line would have enabled the sculptor to differentiate the forearms, so that the right one would have been clearly below the left. Instead, a floating diagonal line was added above to give the illusion of another forearm.
It has been suggested that a figure in the Minneapolis Institute of Arts could possibly be attributed to a later developmental phase of the same sculptor (inv. no. 62.52, from Mathias Komor).
The figure appears to be unique in the orientation of the upper forearm. The horizontal incision that marks the boundary between the two forearms does not continue to the figure's edge and the left forearm consists of a sloping groove rather than a horizontal one. The sculptor seems to have marked off the elbows of both arms and then the inner line of the arms in the same way. A simple diagonal incised line would have enabled the sculptor to differentiate the forearms, so that the right one would have been clearly below the left. Instead, a floating diagonal line was added above to give the illusion of another forearm.
It has been suggested that a figure in the Minneapolis Institute of Arts could possibly be attributed to a later developmental phase of the same sculptor (inv. no. 62.52, from Mathias Komor).