Abstract
This paper argues that bull-leaping was not an intentional act of human sacrifice, but rather a highly prestigious, overtly religious ritual undertaken by the Minoan elite. It describes bull-leaping as depicted in archaeological evidence, explores to what extent the practice could have resembled the artistic depictions of the act and analyses the danger and possibility of performing such a feat. The paper also considers the controversial evidence of "human sacrifice" at the Anemospilia temple; looks at the other violent sports practiced by the Minoans; emphasises the religious significance of bull-leaping and discusses the necessary skill of the bull-leapers themselves.

From the Paper
"That the Minoans practised human sacrifice was a possibility introduced following the grisly findings at the Anemospilia temple. Inside the temple ruins was, as Castleden1 (1990, 168-73) describes, the remains of a young man, with his legs tightly folded up, upon what appears to have been a sacrificial table. A long bronze blade was found beside him. The excavators, Y. Sakellarakis and E. Sapouna-Sakellaraki, proposed that the youth was sacrificed in order to avert the impending earthquake which destroyed the temple. Castleden not only maintains that human sacrifice was performed in this instance, he insists that it would have been an integral religious practise - enacted on many more occasions. He pushes the concept of the Minoans hidden 'shadow side' - mentioning several other examples."

Tags:Knossos, Minos, Bronze, Age, Goddess, Mycenaean, Anemospilia

Abstract
This paper examines how the exchange of artisitic ideas between Ancient Egypt and the Mediteranean is undisputed and how a comparison of fresco is also relevant and illuminating. It briefly examines two Egyptian Fresco's from the New Kingdom period, namely "Fowling Scene" and "Musicians and Dancers", comparing and contrasting the Egyptian styles with three Minoan frescoes including the so-called "Toreador Fresco", as well as "Young Fisherman with His Catch" and "Landscape with Swallows".

From the Paper
"The vivid artistic detailing of Fowling Scene, in addition to the motion and vitally portrayed by the artist(s), is astonishing. The boat on which the family travel is richly detailed, even the wood grain is observable. Papyrus plants grow in a great swath, surging out of the water to the left of the boat. Below the boat, in the water, the details of the fish "show a naturalism based on careful observation" (67). In his right hand, Nebamun clutches three birds he has just caught, while his left hand grips his throwing stick. A large number of birds have been startled into action out of the papyrus swamp, and are shown both perching in various places, as well as in flight. Most curiously, an orange cat, perched on a bowing papyrus stem, has caught a large bird in its mouth and two more in its claws."

Tags:aegean, catch, dancers, fisherman, fowling, landscape, musicians, scene, swallows, toreador, young

From the Paper
"This report will discuss some of the characteristics of the art--particularly the paintings--of ancient Minoan Crete. It will seek to relate these to what we know or can infer about other aspects of Minoan civilization, and will inquire into the Minoan roots of later Western civilization.
The Minoan civilization of prehistoric Crete lies as a great question mark beneath the foundations of Western civilization. Of Minoan history we know almost nothing at all: the Egyptians left only a handful of oblique references to the "Keftiu," and from the Minoans themselves we have only some tablets inscribed in "Linear All--written in no known language--and (from the last period of Minoan civilization) some others inscribed in "Linear B." These can be read; they are in an early form of Greek. Alas, they record no history or poetry, but only "data processing"."

Abstract
This paper gives a brief historical overview of the Minoan civilization, and its successor, the Mycenaeans. The two cultures were primarily trade empires, though we remember them mostly through the epic war poems of Homer. The civilizations are not contrasted, but merely compared to show how elements of civilization carry over from era to era, even into our own.

Abstract
The present paper considers Minoan Culture in the context of the Bronze Age and as one of three principal cultures of Aegean civilization. In what follows, this paper elucidates the significance of this culture, noting its contributions to arts and architecture, and as a precursor to Greek civilization.

Tags:minoan, civilization

Abstract
This paper presents a formal art analysis and critique of the Octopus Vase as well as a discussion of the historical and cultural context of the art work. The author describes the vase in great detail and explains how the artist used intangible shapes, unbalanced lines, and unrefined contours to bring the octopus to life. The author discusses the historical background and artistic tradition behind the vase and concludes that it is a superb example of the Minoan culture and a beautiful and unique work of art in its drama, space, composition, motion, line, and style.

Outline:
Introduction
The Image
Formal Analysis
Style
Form
Space
Line
Composition
Motion
Pros of Material
Cons of Material
Pros of Technique
Cons of Technique
Drama
Historical and Cultural Context
Critique of the Artwork
Conclusion

From the Paper
"The Minoan Octopus vase is a great example of art influenced by the Aegean culture. The vase is thought to have been made around 1500-1450 BCE of the Late Minoan IB phase. The influence of Minoan culture was prevalent throughout the island of Crete. Crete was the hub of business for wine and oils which were exported in pottery vases in exchange for food crops from the mainland. Because of Crete's position in the heart of the Mediterranean crops and plants were scarce; this is most likely the use ordained for the Octopus Vase."

Tags:motif, marine style, tentacles pottery ceramic cartoon caricature naturalistic viewer rhyta

From the Paper
"The purpose of this paper is to discuss the symbolism of the bull in Minoan art. It will draw upon not only examples of Minoan art but also what is know of the religious associations of the bull in early Greek myth and religion.

Surely all attempts to comprehend the symbolism of the bull in Minoan art must begin from, or at least remain cognizant of, the fresco of the "bull dancers" found in the palace at Knossos. Greek myth, conveniently summarized in Plutarch's Life of Theseus, served to preserve a memory of this complex palace; its name or description as labyrinthos, which came to mean a maze, had apparently meant the ?house of the double ax.?

The myths also portrayed the king of Crete, Minos, as a son of Europa, a princess of Phoenicia, who rode on the back of Zeus in the form of a bull to Crete, where he seduced her and fathered Minos.."

From the Paper
"The name Minoan is given to the civilizations that flourished on the Mediterranean island of Crete during the Bronze Age. The term is also used to identify the earlier Neolithic inhabitants of Crete. Almost nothing was known about the Minoan civilization until the very end of the nineteenth century. Arthur Schliemann, who had recently excavated the sites of Troy and Mycenae, had done some preliminary excavation at Knossos near the north coast town of Heraklion. But it was not until 1897 that Arthur Evans was finally able to excavate the site. The main excavations took place between 1900 and 1905. But Evans' expeditions to Crete continued until 1932 with only a six year break because of the First World War. Evans had originally gone to Crete in search of samples of hieroglyphic writing on stones. In Crete he suspected that extensive ruins of some type were..."

Abstract
This paper examines what is understood about Minoan civilization from the vast amounts of archeological evidence that has been found. It discusses the social system and trading practices of the culture. The paper then looks at the types of Minoan city construction and the form of writing that has been discovered and associated with the Minoans.

From the Paper
"The result of such extensive trade meant increasing wealth, which was invested in extensive building projects, the arts, and technology. The Minoans, for example, are the only known civilization that constructed multi-roomed buildings that served various sectors of the community, including the poor, while also being the first to have built a plumbing/sanitary system. In addition, it is believed that they were also the first society to include "leisure" in their societal development, which included sports, such as bull jumping and boxing, and which were available to both men and women (Hooker, 1996)."

Tags:trade, wealth, society

Abstract
This paper gives an overview of the structure and decoration of the Cretan palace of Minos at Knossos. It further describes the construction and function of the structure. Additionally, the paper addresses technical details plus the beauty and creativity of the structure.

From the Paper
"The Cretan civilization during the peak of his existence under King Minos was famous for many things among which its rich architecture, its beautiful art works and its luxurious wealthy lifestyle were certainly significant. (Gardner) One of the most outstanding structures built in this era circa... BCE was the Palace of Minos at Knossos, described by art historian Helen Gardner as a large rambling structure built around open courts and filled with gaily decorated living-rooms of all kinds, bathrooms and a drainage..."

Tags:Crete, Minoan era, Palance of Minos, Knossos, decoration