Kore. Kore is the modern term given to a type of free-standing ancient Greek sculpture of the Archaic period depicting female figures, always of a young age. Kouroi are the youthful male equivalent of kore statues. Korai show the restrained archaic smile, which did not demonstrate emotion. It was the symbol of the ideal, transcending above the hardships of the world. Unlike the nude kouroi, korai are depicted in thick and sometimes elaborate drapery. As fashions changed, so did the type of clothing they wore. Over time, korai went from the heavy peplos to lighter garments such as the chiton. Their posture is rigid and column-like, sometimes with an extended arm. Some korai were painted colorfully to enhance the visual impact of the garments and narrative purposes. There are multiple theories on whether the korai represent mortals or deities. Korai also functioned as offerings to the gods or the dead. The duration of the Archaic korai lasted between about seventh century to fifth century BCE. Similar to the kouroi, historians believe that the korai was influenced by Egyptian convention. Since ancient Greeks and Egyptians had relations with one another, it was possible for artistic influence. Korai have been found throughout Greece, such as in Athens, Ionia, Cyclades, and Corinth. This demonstrates that korai were not regionally isolated. The largest excavation of korai was at the Acropolis of Athens in the 1880s. They served their purpose as votive offerings to the patron goddess, Athena, on the Acropolis throughout the sixth and early fifth century. However, in 480/479 BCE, Persians attacked and desecrated the city of Athens. This included the Acropolis and many of the statues that were there. After the attack, the Athenians buried the korai, whether they were broken or not, in graveyards on the Acropolis. It was believed they did this to rid the reminder of the act of barbarianism done by the Persians and allow Athens to rebuild into a new era. The kore statue had two main purposes. Korai were used as votive offerings to deities, mainly goddesses such as Athena and Artemis. Votive offerings are gifts given to the deities for worship or payment for favors. Both men and women offered the kore statues. Korai not only acted as an offering to a deity, but could be used to show off economic and social standing within a polis. How elaborate the statue was varied between each one. Korai demonstrated individual wealth and status because they were fairly expensive to create and limited to the upper class. To indicate their wealth, elite Greeks had their statues decorated in paint and jewels. An example of a kore used as a votive offering is the Antenor Kore which was dedicated by Nearkhos. Ancient Greeks also used korai for funerary purposes. They were grave markers and offerings for the deceased. It is suggested by historians that the funerary kore portray the appearance of the dead. This became evident with their names being inscribed on the bases of the statues. An example would be the statue of Phrasikleia unearthed from the Meogeia plain in Attica. The statue marked the grave of a young unwed girl according to the inscription found on the base. Whether korai were given as votive offerings or grave markers, according to historian Robin Osborne, they were allegoric symbols as tokens of exchange. Unlike the nude and distant kouroi, korai are completely clothed and engage with their viewer. Their arm is extended and offers gifts of fruit, flowers, and birds. Patrons used korai as offerings to the gods or the dead. Korai symbolize their function by narrating the scene of exchange. Identification has not been an easy task because of time or the lack of context for many korai. It has been difficult for historians and scholars to determine the identities of the korai statues, but they have theories of whom they might be. There are two theories that many historians are in agreement on for identification: the divinities theory and agalmata theory. The divinities theory suggests that the korai represent goddesses, nymphs, and other types of female deities. This theory could only be true for some of the statues. The problem historians have with this theory is that not all of the statues share similar characteristics. If they represented a specific deity, then each kore would share traits to identify them as that particular individual. This became evident to the korai found at the Acropolis in Athens. Not all of the korai could be identified as Athena, the patron goddess, because of how unique each statue looks. No two korai look the same in appearance. They each have individual characteristics. According to Henri Lechat, in order for all of the korai to be goddesses, they would all be different female deities.