The Venus of Willendorf
4 Pages
974 Words

It is hard to compare "The Venus of Willendorf,” the

"Aphrodite of Kindos,” and the "Yakshi” sculptures based on

their religious uses or their respective time periods, which

range from 25,000 B.C. to 30 A.D. However, it is safe to say

that the female nude has been around for a very long time.

"The Venus of Willendorf” depicts a faceless woman with

large legs, stomach, and breasts. Her arms rest atop her

breasts, and she was more than likely used in fertility

rituals. The body is extremely rounded with very little

definition. In contrast the "Aphrodite of Kindos,”

4th-century B.C., shows the great detail of the evolving

Greek artists of this time period. She has ample hips and

curvaceous breasts. Her hour glass figure is accentuated by

her muscular definition and detailed face and hair. She

flows with grace as she leaves the bath in this depiction to

be seen "in the round,” or from all angles. Her beauty is

timeless and still admirable today. The "Yakshi” sculpture

has been somewhat corroded by the hands of time, but is

still shown to be a quality piece. This deity of fertility

has large birthing hips and voluptuous breasts. Her body too

depicts movement that invites one to view her from a variety

of angles. Unfortunately, time has marred her face, but

there is still some degree of visibility of her full legs

and sensuous belly that add to her exotic beauty and appeal.

She is less defined than the "Aphrodite,” but far more

stylized than the "Venus.” It is safe to assume that though

the figures of these three sculptures differ greatly that

they all represent what was considered beautiful and

desirable in their respective cultures. The only thing truly

comparable about the three is their curvature. Even though

their muscle tone contrast vastly they all have curves that

emphasize their breasts, hips, and thighs. That being


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