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Eastern Europe
Discabulus Commemorative issue
Early 20th Century Bronze Medal 54mm (77.32 grams)
Discus thrower right (Myron’s Discobolus).
BALABБ SENIN, Family picnicking under tree.
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The discus throw is a track and field event in which an athlete throws a heavy disc-called a discus-in an attempt to mark a farther distance than their competitors. It is an ancient sport, as demonstrated by the fifth-century-BC Myron statue, Discobolus. Although not part of the modern pentathlon, it was one of the events of the ancient Greek pentathlon, which can be dated back to at least to 708 BC.
The Discobolus of Myron (“discus thrower”, Greek: Δισκοβόλος, Diskobólos) is a Greek sculpture completed towards the end of the Severe Period, figuring a youthful ancient Greek athlete throwing discus, circa 460-450 BC. The original Greek bronze is lost but the work is known through numerous Roman copies, both full-scale ones in marble, which was cheaper than bronze, such as the first to be recovered, the Palombara Discobolus, and smaller scaled versions in bronze.
A Discobolus in the National Roman Museum in Palazzo Massimo alle Terme.
A discus thrower depicted is about to release his throw: “by sheer intelligence”, Kenneth Clark observed in The Nude, “Myron has created the enduring pattern of athletic energy. He has taken a moment of action so transitory that students of athletics still debate if it is feasible, and he has given it the completeness of a cameo.” The moment thus captured in the statue is an example of rhythmos, harmony and balance. Myron is often credited with being the first sculptor to master this style. Naturally, as always in Greek athletics, the Discobolus is completely nude. His pose is said to be unnatural to a human, and today considered a rather inefficient way to throw the discus. Also there is very little emotion shown in the discus thrower’s face, and “to a modern eye, it may seem that Myron’s desire for perfection has made him suppress too rigorously the sense of strain in the individual muscles,” Clark observes. The other trademark of Myron embodied in this sculpture is how well the body is proportioned, the symmetria.
The potential energy expressed in this sculpture’s tightly wound pose, expressing the moment of stasis just before the release, is an example of the advancement of Classical sculpture from Archaic. The torso shows no muscular strain, however, even though the limbs are outflung.
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