Aegean Civilizations c. 3000–1100 B.C.
Cycladic Bronze Age (c. 3000–1100 B.C.):
· marble idolsMinoan (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.) / Please note:
· 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)
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 westof 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.
Terms
Aegean Seabeehive tombs
capital / the decorated top of a column or pilaster, providing a transition from the shaft to the entablature.
citadel / a fortress or other fortified area placed in an elevated or commanding position.
Corbelling (and corbelled arch) / brick or masonry courses, each projecting beyond, and supported by, the one below it; the meeting of two corbels would create an arch or vault.
faïence / earthenware or pottery decorated with brightly colored glazes (originally from Faenza, a city in northern Italy).
fresco / a technique (also known as buon fresco) of painting on the plaster surface of a wall or ceiling while it is still damp, so that the pigments become fused with the plaster as it dries.
frieze / (a) the central section of the entablature in the Classical Orders; (b) any horizontal decorative band.
Heinrich Schliemann
Island of Crete
Knossos
megaron / traditional in ancient Greece since Mycenaean times.Greek for "large room"; used principally to denote a rectangular hall, usually supported by columns and fronted by a porch,
Minoan + Mycenaean connections/trade with Egypt
Minotaur
niello / a technique in which a black alloy is rubbed into lines engraved on a metal surface and, when heated, fuses with the metal.
pedestal / the base of a column, statue, vase, or other upright work of art.
repoussé / in metalwork, decorated with patterns in relief made by hammering on the reverse side.
rhyton / an ancient drinking vessel usually shaped like an animal or part of an animal (typically, the head).
Sir Arthur Evans
Terracotta / (a) an earthenware material, with or without a glaze; (b) an object made of this material.
tholos (tholoi) / (a) a circular tomb of beehive shape approached by a long, horizontal passage; (b) in Classical times, a round building modeled on ancient tombs.
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.
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
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 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. /
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
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