Sarah Murray, an assistant professor in the Department of Classics at the University of Toronto in Canada who is a cultural historian and archaeologist specializing in the material culture and institutions of early Greece, ponders an intriguing question: Why are so many of the Greek men found in depictions of ancient Greek art not wearing any clothes, even when they are engaged in everyday activities such as working in a foundry where basic safety should suggest that clothing was essential?
Scholars struggle to answer these questions with certainty. The truth is that male nudity, as both an aesthetic and a real practice in the ancient Greek context, was many-faceted. Men in Greek art seem to do pretty much everything without their pants on, ranging from the obvious (having sex), to the sensible (bathing and swimming), to the painful (riding horses), to the seemingly suicidal (fighting battles). The convention of nudity in Greek art cuts across apparent class differences as well as a wide range of activities: ‘working-class’ nude men harvest olives and dig clay for pottery production, while heroes and gods from Greek myths and legends fight battles, pursue paramours and mourn lost friends, all while clad in armour that curiously leaves their most sensitive bits exposed.
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