what feature(s) do greek kouroi and standing figures in egyptian art have in common?
The large stone figures began to appear in Greece about 615–590 bc . While many aspects of the kouroi directly reflect Egyptian influence—especially the application in some kouroi of the contemporary Egyptian canon of proportions—they gradually took on distinctly Greek characteristics. Unlike the Egyptian sculptures, the kouroi had no explicit religious purpose, serving, for example, as tombstones and commemorative markers. They sometimes represented the god Apollo, but they also depicted local heroes, such as athletes.
Kouros, plural kouroi, archaic Greek statue representing a young standing male. Although the influence of many nations can be discerned in particular elements of these figures, the first appearance of such monumental stone figures seems to coincide with the reopening of Greek trade with Egypt (c. 672 bc ). The kouros remained a popular form of sculpture until about 460 bc .
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However, the similarities between Egyptian and Greek monumental statues are superficial. The Greek Kouroi soon after the initial stages of the early 7th century begin to exhibit the marks of the inquisitive spirit, the inherit sense of freedom, and the curiosity of the Greek artists. They begin a refinement of form towards a definitive realism that was only possible through a society that revered the human form, and desired to understand the natural environment as a series of cause and effect arguments. It is indicative of this cultural attitude that the Kouros statues depict not deities or political leaders, but mere mortal human beings who were worthy of commemoration or of eternal service to their gods.
Some early Kouros utilized the Egyptian technique of dividing the figure into a rigid grid, which divided the human figure into 21 equal squares from the eyes to the feet with one-half to two more squares from the eyes to the top of the head or the headdress (Metropolitan Kouros might have been created using such grid). Greek artists however favored a system of proportion that was relative to the individual parts of the figure. They utilized a measurement based on the length of the human foot to sketch the human body on the stone before carving, a concept that became famous later in Classical times by Polykletos. Most Kouros statues are between five and seven ancient Greek feet tall, and few are built in monumental scale.
In marble, two standout pieces are the Diskobolos or discus thrower attributed to Myron (c. 450 BCE) and the Nike of Paionios at Olympia (c. 420 BCE). The discus thrower is one of the most copied statues from antiquity and it suggests powerful muscular motion caught for a split second, as in a photo. The piece is also interesting because it is carved in such a way (in a single plain) as to be seen from one viewpoint (like a relief carving with its background removed). The Nike is an excellent example of the ‘wet-look’ where the light material of the clothing is pressed against the contours of the body, and the figure seems semi-suspended in the air and only just to have landed her toes on the plinth.
In the Classical period, Greek sculptors would break off the shackles of convention and achieve what no-one else had ever before attempted. They created life-size and life-like sculpture which glorified the human and especially nude male form. Even more was achieved than this though. Marble turned out to be a wonderful medium for rendering what all sculptors strive for: that is to make the piece seem carved from the inside rather than chiselled from the outside. Figures become sensuous and appear frozen in action; it seems that only a second ago they were actually alive. Faces are given more expression and whole figures strike a particular mood. Clothes too become more subtle in their rendering and cling to the contours of the body in what has been described as ‘wind-blown’ or the ‘wet-look’. Quite simply, the sculptures no longer seemed to be sculptures but were figures instilled with life and verve.
Alongside the natural shift towards naturalism, there was a shift in expression of the sculptures as well. Sculptures began expressing more power and energy during this time period. An easy way to see the shift in expressions during the Hellenistic period would be to compare it to the sculptures of the Classical period. The classical period had sculptures such as the Charioteer of Delphi expressing humility. The sculptures of the Hellenistic period however saw greater expressions of power and energy as demonstrated in the Jockey of Artemision. 
Three types of figures prevailed—the standing nude male youth (kouros, plural kouroi), the standing draped girl (kore, plural korai), and the seated woman. All emphasize and generalize the essential features of the human figure and show an increasingly accurate comprehension of human anatomy. The youths were either sepulchral or votive statues. Examples are Apollo (Metropolitan Museum of Art, New York), an early work; the Strangford Apollo from Anafi (British Museum, London), a much later work; and the Anavyssos Kouros (National Archaeological Museum of Athens). More of the musculature and skeletal structure is visible in this statue than in earlier works. The standing, draped girls have a wide range of expression, as in the sculptures in the Acropolis Museum of Athens. Their drapery is carved and painted with the delicacy and meticulousness common in the details of sculpture of this period.