In Croatian Apoxyomenos, how is the Appearance and typology discussed?
Croatian Apoxyomenos is 6 feet 3.5 inches (1.92 m) high, and stands on a 10-centimetre (3.9 in) high original bronze base which is decorated with alternating square and swastika ornamentation. The alternating square-and-swastika is repeated three times on the sides of the base, four times on the front, while the back side of the base is undecorated. Art historians Nenad Cambi from Split and professor Vincenzo Saladino from the University of Florence believe that this bronze statue dates from 2nd or 1st century BC. The author is unknown, but the statue's beauty, as well as the quality of its casting, indicate a highly skilled craftsman.
A similar statue was found in 1896 in Ephesus, in present-day Turkey, and is now held by the Kunsthistorisches Museum in Vienna. Croatian Apoxyomenos is different from the Vatican Apoxyomenos made by Lysippos, primarily because the Croatian keeps his hands at the level of the hip and not the forearm.  A larger number of fragmentary findings of this type suggests the popularity of the figure in antiquity. The Vatican Apoxyomenos may have been created as a variation on the Lysippos theme style. Of the eight known Apoxyomenos statues, the Croatian one is the most complete and best preserved.Art historian and professor Antun Karaman described Apoxyomenos:
Apoxyomenos' bronze glow flashes just like the last flashes of the Greek classical period when man, with the help of philosophy, begins to seek refuge in the invisible (Plato advocates an escape to the fold of higher consciousness), but also in a safe and solid shelter of knowledge (Aristotle's gnoseological thesis). Therefore, Apoxyomenos is dignified and calm. Viewing his perfect form, one can almost touch what would otherwise remain hidden from one's sight, which would be limited to the observation of external forms. Apoxyomenos and its sculptor stoically accept the relativity of the foundation of existence, because he lives in the midst of constant change. By accepting impermanence as an effective value and fact, he reveals buried emotions that tomorrow are going to rise to a boiling point in Hellenism.
Turkey Florence Lysippos bronze Ephesus Croatian Split Kunsthistorisches Museum University of Florence Apoxyomenos Vienna