[CHP. 4: THE AEGEAN]
P A G E | 1 Aegean Civilizations c. 3000–1100 B.C. Please note: •
Cycladic Bronze Age (c. 3000–1100 B.C.): •
marble idols •
•
Minoan (c. 3000–1100 B.C.) •
Myth of Europa; palace at Knossos; Linear A •
Thera destroyed (c. 1500 B.C.); frescoes Mycenae (c. 1600–1100 B.C.) •
Citadels; megaron; Cyclopaean masonry; tholos tombs; Linear B •
Trojan War (c. 1180 B.C.) Overview There were 3 early European cultures that would develop on the Aegean islands between 3000 to 1100 BCE: Cycladic Islanders, Crete (Eastern Mediterranean) and Mycenae – Mainland. Unlike ancient Egypt and Near East what was known about these cultures has mostly been in myths and folklore. The Aegean islanders were discovered to be excellent seamen, there is evidence that they did trade with people of the Near East and Egypt. However they were primarily farmers and herders. The Bronze Age began in 3000 to 1000 BCE – they used metals that were imported from Anatolia, Arabia & Europe. The Aegean civilization derives its name from the sea located between Greece and Asia Minor. Neither Sumerians or Egyptians of the Old Kingdom seem to have shown any interest in the contemporaries west of them. c. 6000 BC‐‐ Early Neolithic immigrants from farther east came to Greece and Aegean islands and brought with them agricultural techniques. For almost 3000 years life continued there untouched by the rise of organized cultures elsewhere. Beginning in early Bronze age this area developed as a brilliant and sophisticated civilization as any then in Europe and West Asia c. 3000 BCE‐ At same pointappearance of similarly urban cultures in Indus valley on Indian subcontinent c. 1100 BC‐ After almost 2000 years of existence this Bronze Age civilization disappeared as dramatically as it rose "Aegean" is not only a geographical term but also refers to civilization that flourished 3rd‐ 2nd millenium BCE before the civilization of Greece Aegean culture is important not only for the possible light it throws on later times. Its existence shows that the ancient world could reach beyond the monumentality and earnestness of the Egyptians and Mesopotamians. That it could attain a way of life that valued grace, beauty, and conflict ‐‐ a life that could truly be called civilized. Three artistic centers developed in this region at the same time as the cultures thriving in Egypt and Mesopotamia: •
•
•
the Cyclades, ‐islands north of Crete the island of Crete, ‐ Minoan‐ after legendary King Minos and Greece itself.‐ Helladic‐ which includes Mycenae Each of these has been divided into 3 phases which roughly correspond to Egypt‐ Old, Middle, New Kingdoms During most of Bronze Age the major centers of Aegean culture were on Crete or the mainland. The most important remains, greatest achievement, of the Aegean civilizations are from later part of Middle or Late phase. But in the early phase there were settlements on a grouping of islands in the central Aegean, the Cyclades. Our knowledge of Aegean civ is much more limited than our knowledge of Egypt or Ancient Near East. We have no help from written records of Aegean civilizations. Their art is linked to Egypt & Near East and linked to later Greek art. But the Aegean is no mere transition between two. Aegean art has a haunting beauty of own that is unlike either. Its most unusual characteristics are its fresh & spontaneous nature. Cycladic art=art from the Cycladic Islands Minoan art=art from the island of Crete Helladic art=art from the Greek mainland (Late Helladic is Mycenaean) [CHP. 4: THE AEGEAN]
Terms Aegean Sea beehive tombs capital citadel Corbelling (and corbelled arch) faïence fresco frieze Heinrich Schliemann Island of Crete Knossos megaron Minoan + Mycenaean connections/trade with Egypt Minotaur niello pedestal repoussé rhyton Sir Arthur Evans Terracotta tholos (tholoi) P A G E | 2 [CHP. 4: THE AEGEAN]
P A G E | 3 Cycladic The Cycladic Islands are located in the southern Aegean Sea. There is no evidence of a written language, so very little is known about this culture. Archeologists have excavated cities and towns that were built from local stones. The economy was agricultural, but there is a belief that these folks also may have manufactured crafted goods for trades made from terra cotta clay (low fire clay). Objects were decorated with incised patterns. Small terra cotta and marble figurines were found in graves, some of the figures were life size (5 feet). Cycladic warrior & female: The islands of Paros and Naxos had an abundant supply of marbles. The marble was used to sculpt figures with scrappers & chisels that were made from obsidians. There are very few male figures and they are represented as warriors. The more prevalent figures were female. However Cycladic female figures were not in the typical prehistoric fertility style. The traditional exaggeration of breast hips, and stomach is not a part of the Cycladic female form. This has led some historians to believe that these figures may be votive figures; the positioning of their folded arms, pointed feet, generic facial features, and tilted back head, meant that these statues were meant to be placed on their back. Female Cycladic idol, Amorgos, 2700 – 2300 B.C. Marble 4 ft. 10.5 in. high National Archaeological Museum, Athens, Greece Photo© LaCour Slide Library Living With Art Slide Set Harp Player: This is a fully sculpted figure that was meant to be viewed from all sides. While very similar to the female and male figures that were found in the grave; this figure’s purpose is unknown. Since it was found at a grave sight, could have served in some sort of religious capacity. Another fact about these figures is that they were found to be purposely broken. Again alluding to some sort of ceremony. The general style of these items is very simplistic, not very curvy, more angler and simplified. The only prominent part of the face is the nose. It is not known what happened to this culture. There is no information at this time that could explain its disappearance. Female Cycladic idol, Amorgos, 2700 – 2300 B.C. Marble 4 ft. 10.5 in. high National Archaeological Museum, Athens, Greece Photo© LaCour Slide Library Living With Art Slide Set Minoan Crete The Minoan Crete Islands are located south of the Cyclades and northwest of the Nile Delta. The island of Crete is this culture was based, but called Minoan Crete after mythological king Minos from Knossos. Crete is the largest of the Aegean Islands; 36 miles wide and 150 feet long. They were a self sufficient civilization that was able to produce its own grains, oils, etc. There is no natural ores on the island, so they had to trade with people of the Near East and Egypt. The Minoans had an extremely powerful and wealthy sea trade. Their religion was polytheistic‐ it centered around 3 female deities who may have been the early prototype for later Greek mythological goddesses Artemis, Demeter and Athena. They did have 2 written languages; Linear A, which is untranslatable, and Linear B for administrative records. They also wrote Egyptian hieroglyphics. The culture suffered a major set back in 1700 BCE from an earthquake. The Minoans would rebuild and expand on their palaces. Palace Complex: The Minoans had great architectural structures. The earlier structures were made from simple mud brick and rubble (dressed stone) with wood frames for bracing. After the major earthquake, that occurred in 1700, some of the damaged buildings on Knossos and Phaistos, were repaired and enlarged. The palace at Knossos may have been the inspiration for the Greek story of Minos’ labyrinth because of the maze like floor layout. The palace is constructed on the post and lintel elevation with wooden columns that taper down, very unusual in the ancient world. These complexes housed everything: religion, residential, manufacturing and warehouse. Many of the rooms surrounded a large central courtyard that would lead into the throne room that was located on the west side of the complex. The palace had no fortification and depended on large naval fleet for protection. The interior of the palace complex had many courts and was painted in bright primary colors. Toreador Fresco Bull Leaping: Large scale paintings covered the walls of palace. These paintings were done in buono fresco (wet plaster) and fresco a secco (dry plaster). The subject matter of these images was often of the natural world. The Minoans, much like other prehistoric and ancient Detail of the palace showing wooden columns Palace of Minos, Knossos, Crete Photo: LaCour Slide Library Art Across Time Slide Set (wncc) Toreador Fresco from the Palace of Knossos c. 1500 BCE‐1450 BCE Fresco Minoan (Late) Herakleion. Archeological Museum. Photo© LaCour Slide Library Living With Art Slide Set [CHP. 4: THE AEGEAN]
P A G E | 4 cultures had no real interest to attempt to reproduce reality. There is no attempt to use shadow or perspective. The artist(s) uses outlines and fills in color of the subject matter. The Toreador fresco shows an activity that was the subject of many pieces of art work – Bull Leaping. This mural depicts a person starting the leap, a person in mid leap, and another person finishing the leap. The style of the painting is often described as elegant because of the light curvy line, dainty figures and refined facial features. Bull Leaping might have been a fertility or initiation ritual. Or maybe this was a favorite activity. The darker colors belong to the original fresco and lighter colors are modern retouches. Throne Room: This painting was found in the throne room and has been restored. This is called the throne room because of the stone chair that is slanted out of wall for maximum comfort. The frescoes that decorate wall are in the Minoan curvilinear style, but with shadows for a sense of depth and natural space on a 2 dimensional surface. Griffins are on either side of the throne placed in a very expansive, yet generic landscape. Since in ancient Aegean art only women were painted with griffins, it is a safe assumption that this was seat for a priestess. There are also other themes that are represented in the throne that are seen in other art work: double axe heads, bulls, trees, and columns. Faïence was also used by the Aegean for artwork. The Snake Goddess (could be a deity or priestess) holding snakes was very popular motif. Her breasts are exposed and she wears a corseted bodice and several tiered skirt. Her eyes appear wide and in a direct stare. On her hat sits a cat. The exact iconology and meaning of this statue is unclear. We do know that in the Minoan culture snakes were associated with fertility and agriculture. Octopus Flask: The Minoans, much like the Egyptians were aware of the importance of nature to their daily lives. Since they were excellent seafarers, which contribute to their economic prosperity, marine life as subject matter was also very popular. This flask is decorated with a very realistic depiction of an octopus. The octopus’ tentacles wrap around the flask, which helps to emphasize the form of the pottery. Small lively sea creatures float around the octopus. The octopus’ eyes are large and wide and there is a sense of joviality about this creature. The Minoans are often depicted people and nature very harmonious. View of the “throne room,” with heavily restored fresco depicting griffins, palace of Minos, Knossos, Crete Photo: LaCour Slide Library Art Across Time Slide Set (wncc) Snake Goddess, Knossos, Crete, c. 1600 B.C. Photo: LaCour Slide Library Art Across Time Slide Set (wncc) Octopus Vase, Palaikastro, Crete, c. 1500 BCE‐1450 BCE Earthenware. Thrown Minoan: Marine Style Palaikastro. Crete. Greece. Herakleion. Archeological Museum Photo© LaCour Slide Library Gardner‐ Art Through the Ages Set Kamares Ware Libation Vessel. 2000 BCE‐1700 BCE Earthenware. Thrown Minoan: Kamares Style Phaistos. Crete. Greece. Herakleion. Archeological Museum. Harpy Photo© Harpy Kamares Ware jugs: The Minoans economy was driven by their crafted goods. The pottery wheel was found on the island of Phaitos as early as the 2nd millennium. Kamares was the main exported pottery. Kamares pottery had very thin walls, beak spouts and a soft rounded form. As to be expected, the lines of the designs are stylized elegance. These designs were painted in a red and white on a black background. The motif inspired by the local plant life. Harvester Vase: Stone vessels were used in important ceremonies. This vase is made from soapstone called steatite. Rhytons were vessels that used for pouring liquids in sacred ceremonies. Believed that there purposes were used in religious ceremonies because they were found to be deliberately broken. The carvings are not simple plant inspired motifs, but straight forward narratives. Bull Headed Rhytons: as we know bulls were very prominent in Minoan society. The myth of the Minotaur, who was half man and half bull, is part of the folklore of Minoan Crete. The bull is seen through out the art; however no evidence that bulls were worshipped. This Bull headed rhyton is made from steatite which is a greenish black stone. Fine lines are incised and filled with white powder, the shells outline nostrils and rock crystal and red jasper are inlaid for the eyes. Again more than likely used in ceremonies to pour water or wine and/ or blood into neck that came out of the mouth. There were 2 types of text that were found Minoan Crete ‐ Linear A and Linear B. Linear “A” is untranslatable, Linear B has been translated. From what has been deciphered, historians know that this text was used mainly The Harvester's Vase. c. 1500 BCE Steatite. Carved Minoan (Late) Hagia Triada. Crete. Greece. Herakleion. Archeological Museum WorldArt Web Kiosk Photo© Kathleen Cohen [CHP. 4: THE AEGEAN]
P A G E | 5 for record keeping and for administration purposes. Linear A probably used for sacred text or royal purposes. The Minoans would continue to prosper until 1400 BCE. It would be the Mycenaean people who would dominate of island of Crete and assimilate their culture into their own. Mycenaean Civilization Mycenaean’s Bronze Age was from 3000‐ 1000 BCE. These people are the Greek speaker from the mainland. And according to Greek folklore the Mycenaean’s home island is believed to be the home of Agamemnon. The Mycenaean were definitely more militaristic. The Mycenaean’s built large fortified cities, close to the seas. The first ring of the wall erected 1150 BCE. The gate was constructed a century later. Lion Gate: The gate is of a basic post and lintel construction, with a relieving corbelled arch. The most striking feature of the gate is the 9 feet lion guardian figures. It is not very clear if the Mycenaean, like the Assyrians, believed that lions never slept which is why they were the perfect guardian. The heads were removable and probably been made from bronze or gold. The gate was the formal entrance “Great Ramp” to the Kings Palace. Lion Gate, Mycenae, thirteenth century B.C. Photo: LaCour Slide Library Art Across Time Slide Set (wncc) Megaron The palace at Pylos is a megaron (large room) plan. The palaces of the Mycenaean were very much like the palaces of the Minoans; every thing from administration to religion was housed in the palace. The palace had a large audience hall, with Minoan style tapered columns that supported the ceiling wood beams. Every inch of the palace was painted in bright colors. When they excavated this palace, archeologists found tablets written in the Linear B texts of inventory lists, as well as documents that record a fire that took place in the palace room. Treasury of Atreus, Mycenae, c.1300‐1250BC Mask of Agamemnon: This mask was found in one of the grave shafts (vertical pits 20‐25 feet). The gold was imported from more than likely from the Near East. But as we can see Aegean were very good at metal work. This mask was falsely identified as the mask of Agamemnon, but the mask is actually dated about 300 years prior to Agamemnon. This was probably a death mask despite its rather cartoonish mustache and bread. There has been some debate as to whether or not this mask is authentic. Minoan and Mycenaean cups from Vapheio, near Sparta, sixteenth century B.C. Vapheio Cup: Minoan Crete was invaded by the Mycenaean (mainland Greece) about 1450 – 1400 BCE. Crete would become the main base of operation for many years. These cups were found in a tholos tomb. This is a front and back view of a Mycenaean cup. The bull imagery is also prominent in the Mycenaean culture. The Mycenaean’s occupation of the Aegean isles would also officially begin the Helladic period, which is the Bronze Age in Aegean Island. This cup is done in a repousse technique with handles attached with rivets in the side. Dagger Blade /Lion Hunt: Another example of the fine craftsman that the Mycenaean’s were is the dagger blade. Evocated shaft graves as well, 3 bronze blades were found, as well as jewelry, mask, and cups. Each blade was inlaid with a different metal. Details were done in neillo: a powdered nigellan (black alloy of lead, silver, cooper with sulfur) rubbed in incised lines of decorated objects fused to surrounding metals. “Mask of Agamemnon,” Mycenae, c. 1500 B.C. National Archaeological Museum, Athens, Greece Photo: LaCour Slide Library Art Across Time Slide Set (wncc) Inlaid dagger from the royal tombs of Mycenae, c 1600 ‐ 1500 BC Bronze inlaid with gold and electrum apx 9" long NArchMus, Athens [CHP. 4: THE AEGEAN]
P A G E | 6 2 Women with a Child: As the Mycenaean culture thrives the art work will reflect a high level of attention to nature and realistic depictions of nature and the figure. This sculpture of 2 women and a child was found in a shrine at the palace at Knossos. It is very small, only 3 inches, and carved from ivory. What is apparent in this statue is that the artist displays a keen sense of observation of nature. The meaning of this piece is not apparent and open to any interpretations The Warrior Vase, from Mycenae, c 1200 BC, Warrior Vase: During the final phase of the Helladic area, the Mycenaean’s became superior at ceramic wares. They would begin create more uniform shapes and sizes of clay vessels. Ceramic wares painted were with narratives of heroes and the gods. This particular vase shows men going off to war. There is a nature abstraction of the human form. But there is no emotional display on the warriors’ face. The composition is strong, the artists uses repetition of the warriors and their shields and lances to create a rhythmic pattern. NArchMus, Athens The Mycenaeans would begin to decline around 1200 BCE. From 1100 – 900BCE is considered the Aegean Dark Ages, due to political and economic instability. There are no written text of what exactly happened to cause the downfall of the Mycenaeans and the 300 years cultural stagnation. But out of the Dark Ages would emerge the Ancient Greek civilization. Study Guide 1.
2.
3.
What are some general characteristics of Cycladic sculpture? What are some possible functions of these sculptures? What are the main characteristics of a Minoan palace and how is the architecture of these palaces different from any other similar structures that we have looked at? What are the main characteristics of Minoan painting? How may the fresco process have influenced the work? How did the geography of the area influence the work? Potential Exam Essay Questions 1.
1.
2.
3.
4.
Discuss the differences in style, convention, and medium between Egyptian and Aegean wall painting. Give examples from Knossos and Thera. Compare the Minoan with the Mycenaean civilizations, using the archeological evidence available. Describe Mycenaean burial practices, and give examples based on evidence of the objects found in the tombs. Compare Minoan and Mycenaean pictorial and sculptural styles. Describe the Minoan vases illustrated in this chapter, and discuss how they reflect aspects of their culture. Summary and Study Guide