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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 ...
A peplos (Greek: ὁ πέπλος) is a body-length garment established as typical attire for women in ancient Greece by c. 500 BC, during the late Archaic and Classical period. It was a long, rectangular cloth with the top edge folded down about halfway, so that what was the top of the rectangle was now draped below the waist, and the bottom ...
Women, as represented by Calonice, are sly hedonists in need of firm guidance and direction. In contrast, Lysistrata is portrayed to be an extraordinary woman with a large sense of individual and social responsibility. She has convened a meeting of women from various Greek city-states that are at war with each other. Soon after she confides in ...
In modern Greek and Church Slavonic the zone or (Пояс, poyas - belt) is a liturgical belt worn as a vestment by priests and bishops of the Eastern Orthodox Church, Oriental Orthodox Churches and Eastern Catholic Churches. It is made of brocade with an embroidered or appliquéd cross in the center, with long ribbons at the ends for tying ...
Ampyx (ἄμπυχ) was a headband worn by Greek women to confine the hair, passing round the front of the head and fastening behind. It appears generally to have consisted of a plate of gold or silver, often richly worked and adorned with precious stones. [89] Sphendone (σφενδόνη) was a fastening for the hair used by the Greek women. [90]
LGBTQ fraternities and sororities have existed since the 1980s, with Delta Phi Upsilon being established in 1985 and Delta Lambda Phi in 1986. These groups are intended to provide members with access to Greek life without fear of homophobic reprisal or behavior by fellow members, resulting from a history of homophobia within longer-established organizations.
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Venus Callipyge by François Barois, 1683–1686 (Musée du Louvre). The restorers' decision to have the figure look over her back greatly affected subsequent interpretations, to the point that the classicists Mary Beard and J. G. W. Henderson describe it as having "created a 'masterpiece' in place of a fragment". [6]
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