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Fig. 10.2 Herakles (Heracles, Hercules). The classical Herakles
shows a shortening of the core and asymmetrical imbalance
among the lines. (Reproduced with kind permission from Hirmer
contrast with the pre-classical Kouros and the warrior
Zeus (see Fig. 10.4).
Blessed with fabled strength though he may be, notice
that Heracles' body shows the characteristic hip-hiked,
off-center pose that can be found in most 'classical' art.
This involves a commonly seen pattern: shortness in the
lower left Lateral Line, and the upper right Lateral Line.
This is accompanied by a retraction or collapse in the
core or Deep Front Line, demonstrated in several ways.
There is a twist in the core supporting the lower thoracic
spine, i.e. in the psoas complex. The chest, though
massive, seems slightly collapsed toward an exhalation
pattern. The lack of inner length can also be seen in the
'girdle of Adonis' spilling over the edge of the pelvis
(that is not fat, but rather a result of core shortening). It
extends to the legs, where the shortness of the DFL in
the adductor group and deep posterior compartment of
the lower leg pulls up on the inner arch and helps to
shift the weight onto the outside of the foot. The collapse
can be read in the tissues of the knee, where the tissues
Fig. 10.1 Kouros. The pre-classical Kouroi series of sculptures
shows close to ideal 'coordinated fascial tensegrity' - balance and
proper placement for the Anatomy Trains lines. (Reproduced with
kind permission from Hirmer Fotoarkiv.)
lines is not lost or overcome. We could do worse, as a
culture, than to work toward a physical education
system which would generate bodies that approach this
functional ideal.
Heracles (Fig. 10.2)
Here we see a weary Hercules, leaning on his club and
resting from his labors, so it may be unfair to subject
him to a critical lines analysis. This representation,
however, is typical of classical art, and it provides a clear
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