The Aegean civilization, which emerged in the third and second millennia BCE, encompassed islands and peninsulas adjacent to the Aegean. It consisted of closely related cultures, including Cycladic on the island circle north of Crete and Helladic on the mainland. Despite having their own characteristics, these cultures were collectively referred to as Aegean. Initially, information about this civilization relied heavily on accounts from the Iliad and the Odyssey; however, subsequent evidence has discredited many of Homer's narratives.
The Early phase, corresponding to the predynastic and old kingdom period of Egypt as well as Sumerian and Akkadian culture in Mesopotamia, is characterized by unique art forms. In the Cyclades, this includes stylized marble representations of the human figure and frescoes. On Crete, dominant features are large palaces
...with elaborate adornments on their walls. The Greek mainland is known for its citadels and grave goods. This era's art can be seen in the Cycladic Figures dating back to c. 2700-2300 BCE [4.2, 4.3]. The Middle phase coincides with the Middle Kingdom in Egypt and the rise of Babylon in Mesopotamia. Meanwhile, the Late phase occurs simultaneously with the Second Intermediate period and the beginning of the New Kingdom in Egypt.
The figures discovered in Cycladic burials portray nude individuals with arms folded across their waist and toes extended. These bodies are flat and have a straight back, featuring a shieldlike face at a slight angle, supported by a long thick neck. These figures possess a lengthy, triangular nose, small pointed breasts, and a triangular pubic area. Some of these figures even appear to be pregnant. Initially considered idols central to the religion centere
around a mother goddess, it is now possible that they were created for funerary purposes as well. In addition, there is speculation that these figures served a purpose within household shrines in Cycladic society during daily life. It is believed that the larger figures might have been statues, as some display signs of repair indicating actual use.
"The Palace" Complex at Knossos (Crete) is a significant example of Minoan architecture dating back to around 1600-1400 BCE [4.4, 4.5, 4.6, 4.8]. The complex consists of a plan, reconstruction, staircase, and the famous "Queen's Megaron," providing valuable insights into Minoan architecture. It was the most influential center on Crete during the Middle and Late Bronze Age. The majority of the palace has been reconstructed using concrete but retains its original elements such as courts, halls, workshops, and storerooms. These spaces were well-lit and ventilated through light wells while clay pipes were used for drainage purposes. The walls were built with timber framing and rubble masonry or mud brick material. The unique design of the columns featured a smooth shaft tapering downwards from a cushion-like capital.
Despite its intricate layout resembling a maze, there is an underlying logic to the design of the palace complex. At its core lies a large central court that served as an access point for important rooms within the complex. This court effectively divides the overall plan along an approximate north-south axis while a corridor on the west side runs from north to south separating long and narrow store rooms.
Overall, it can be observed that the palace complex expanded outward from the central court.
The palace walls were embellished with lavish decorations, offering
valuable glimpses into the aspects of Minoan architecture that have not endured throughout history.
The Toreador Fresco, discovered in the Palace Complex at Knossos and dating back to around 1550-1450 BCE, showcases various decorative motifs within bordered scenes. These scenes encompass people, mythical creatures, real animals, rocks, vegetation, and marine life. The fresco, located in the residential wing of the palace, specifically depicts a competition between a young man and woman and a bull. The artwork vividly captures the Minoan sport known as bull leaping, where the participants leap over a bull while gripping its horns. Scholars have interpreted this scene as a ritual game where performers would vault over the back of a bull. The figures in the fresco, painted in true profile, are depicted against a blue background. They are clad in kilts and possess long limbs and small waists.
The Spring Fresco (Akrotiri) is a Minoan artwork from c. 1600-1500 BCE. It is located in a small ground floor room and covers almost the entire wall surface. The terrain on the fresco has dramatic undulations, with a dark outline filled with rich washes of red, blue and ocher. Swirling black lines add texture within the flower of the Lilies, and swallows can be seen darting between them. The fresco is found within houses that date back to the Middle Minoan III phase and is preserved up to a height of two stories.
Flotilla Fresco (Akrotiri) from around 1600-1500 BCE is a Minoan artwork that incorporates humans into the surrounding landscape. These figures can be life-sized or smaller. The artwork depicts the town's role as a harbor, with
a fleet of ships transporting passengers between islands. The sea is filled with leaping dolphins. The ships depicted vary, with some sailing and others rowed by oarsmen. Each ship is carefully painted. Likewise, the islands in the artwork have port cities that showcase detailed stone architecture. The streets, rooftops, and windows are filled with crowds of people observing the scene. This painting possibly captures a real-life event.
The Snake Goddess, dating back to around 1650 BCE in the Minoan era, was discovered in religious sites that were considered sacred on Minoan Crete. While no large cult statues or temples were found, smaller figurines were uncovered. Among them was a female figure, depicted with two snakes held up in each of her hands while wearing a headdress adorned with a feline creature. Similar to the women in the Grandstand Fresco, she is shown wearing a flounced skirt and baring her breasts. The slender waist is another characteristic that is frequently seen in Minoan depictions of humans. In certain religious beliefs, snakes symbolize earth deities and male fertility, just as the exposed breasts on this statuette represent fertility. These figurines were discovered in pits called the Temple Repositories.
The Octopus Vase, which dates back to around 1500 BCE, is an important representation of Late Minoan IB phase pottery. This vase showcases marine themes with a slim spout and two circular handles on either side. Its design highlights a black octopus with large eyes and swirling tentacles against a clay background that has the color of an eggshell. Additionally, there are clumps of algae that can be seen floating within the spaces between the tentacles, adding to
its realistic portrayal. The curved contours of the vase accentuate its shape, reflecting the form of the vessel itself.
The Citadel at Mycenae, a settlement of the Mycenaean people dating back to approximately 1600-1200 BCE, was part of a network of similar settlements found throughout mainland Greece. These settlements were centered around citadels or palaces, which were large structures. The fortifications of the citadel consisted of thick walls made from large stone blocks, some as thick as 20 feet. These walls provided protection and the ability to withstand a siege. To protect against invaders, the entrance of the citadel had a significant granary for storing food supplies to ensure that its inhabitants had enough to eat. Additionally, the citadel had its own water supply and an efficient sanitation system. Archaeologists discovered drainage systems and cisterns used for storing water in the southwest corner of the citadel. The western part of the citadel housed Mycenae's cult center, which included small buildings resembling houses serving as shrines for Mycenaean deities and located near the famous shaft graves.
The Mycenaean aristocracy resided within the citadel, while ordinary homes were located outside its walls. There are ruins of several spacious houses near the cult centre, featuring a rectangular room, central hearth, and pillared porch. These opulent houses also had additional floors. Although erosion has affected the palace situated at the highest point of the citadel, enough evidence remains to comprehend its immense size, scale, and luxurious nature as a royal residence for the Mycenaeans. Access to the palace was granted from the northwest and led through a porch with guard rooms into a cobbled outer courtyard.
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The Lion Gate at Mycenae, dating back to around 1250 BCE, showcases the impressive use of a corbel arch. This arch was incorporated as a key entrance to the citadel and was constructed during the expansion of the city walls in order to enhance its defensive capabilities. The opening is formed by two massive stone posts supporting a large lintel. Positioned above the lintel is a corbel arch, which effectively redistributes the weight of the substantial wall onto the sturdy posts beneath it. As a result, the corbel alleviates the burden on the immense 25-ton lintel. To close the resulting gap, a triangular grey limestone slab was inserted above the lintel.
The lions are positioned in a heraldic manner, with their front paws resting on altars in a Minoan style. They appear as mirror images of each other and flank a tapered column also in the same style. Holes in their necks suggest that their heads were likely added separately using wood or a different type of stone. The lionesses serve as protectors and exhibit strong, muscular bodies and symmetrical design, possibly influenced by the Near East. It is possible that the concept of having animal guardians at palace entrances was inspired by structures like the Hittite Lion Gate.The "Treasury of Atreus" in Mycenae, dating back to around 1300-1250 BCE, is considered one of the largest and most well-preserved tombs of its kind. It boasts a pathway lined with ashlar masonry that leads to the entrance. The door is inclined inward, reminiscent of Egyptian construction style. Flanking the opening are columns made of Egyptian green marble, adorned with spirals and zigzags. Above the doorway, small columns
frame decorative marble bands concealing a triangular relieving structure over the lintel. The tomb itself is a spacious circular chamber that was excavated into sloping ground and then constructed using corbel vaulting from ground level. This unique construction technique gives the stone roof of the tomb a distinctive beehive-shaped profile.
The Mycenaean Dagger Blade, created around 1600-1550 BCE, is an example of lavish weaponry found in the earlier shaft graves. These graves were known to contain extravagant burial goods, including clothing, furniture, and fine weaponry. The dagger blade itself is adorned with intricate inlays depicting a lion hunting gazelles. The strength and predatory nature of the lion symbolize the power and identity of the dagger's owner.
The Mask of Agamemnon, created around 1600-1500 BCE, is a gold death mask from the Mycenaean period. It was discovered on the face of a deceased person. Despite its lack of realism, the mask displays an impressive depiction of facial features: some masks have beards and others are clean-shaven. This implies that the mask was tailored to resemble the individual it adorned.
The Vaphio Cups, dating back to approximately 1500-1450 and belonging to the Mycenaean civilization [4.29], are two gold cups that were discovered in a Mycenaen tomb. Made with two layers of gold, the outer layer of the cups is adorned with embossed scenes depicting the catching of bulls, while the inner lining is smooth. Additionally, each cup features a cylindrical handle that is attached to one side. One of the cups depicts bull trappers using nets to capture the animal, while the other cup portrays a cow being led to pasture as bait
to entice a bull into captivity. Despite their similar subject matter, the cups are not a pair. The first cup has an upper border that frames the scene, while the second cup does not have this feature, suggesting they may have been created by different artists.
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