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.
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."
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 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 frescos 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."
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)."
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 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."
Abstract This paper discusses how, because women have always been an integral part of society, their role has been depicted in artwork from the very first sculptures and cave paintings. Not surprising, the way that they have been delineated through art has depended on their changing responsibilities. Also, when women create the art pieces instead of their male counterparts, differences are recognized. The paper compares and contrasts this status within several different cultures such as ancient Greek Egyptian and Minoan cultures. The paper concludes that in most cases, except for the Minoan culture, the women's status continued to decline as the culture became more structured and urban. Except for the earliest times, therefore, women have had a subservient role. This has not only been in Western society, but Eastern cultures as well.
From the Paper "In the period of approximately 3500 BCE to 635 CE, or during such cultures as the Akkadian, Neo-Summarian, Babylonian and Hittite, when looking at the art work it is difficult to know whether the women are depicting female humans or actual goddesses. For example, a female head from Uruk, Iraq, made out of marble from 3200 to 3000 BCE may be a female head or the Summarian goddess Inanna (34). Inanna., later known as Ishtar, was the Summarian goddess of love and war who was the most important female deity in all periods of Mesopotamian history (35). In a Sumerian ruin from the fourth millennium, statues and reliefs are found that are related to her worship. It is unsure, however, whether or not this goddess was represented in human form at that time. Because of continued importance of fertility at the goddesses at this time, women most likely continued to play an important role. "
Abstract This paper attempts to relate the decline of the Greek Bronze Age with the eruption of Santorini in the Aegean Sea. The author examines the developments that led to the decline of the Greek Bronze Age and how they coincide with the eruption of Santorini volcano.
From the Paper 'Two of the greatest controversial questions in ancient Greek history are when did the decline of the Greek Bronze Age begin and what caused this dramatic reversal in progress? Dates have varied from as early as 1350 B.C. to as late as 1100 B.C. Causes have range from massive invasions by barbarians to widespread droughts. However, evidence has begun to surface that suggests the possibility that there was a massive series of natural phenomena that affected the whole eastern Mediterranean region between 1600 and 1300 B.C. After examining all of the current evidence, a conclusion can be drawn that a series of earthquakes shook the region during several decades which set off a cataclysmic volcanic eruption on the island of Thera. This explosion can be directly connected with the decline of Bronze Age Greece."
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..."
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.."
Abstract This paper examines the archaeological search for the historical Atlantis, the theories that have been suggested over the years and the techniques which have been used to investigate them. It looks at how the myth has been captured by many authors over the years such as Ignatius Donnelly. It also considers whether K.T. Frost's hypothesis attempting to prove that the lost city of Atlantis was in fact in the Aegean is the solution to the problem of its location.
From the Paper "However, if we are equating the destruction of Minoan Crete to that of Atlantis, we run into problems. The most obvious of these is that Atlantis was supposed to have sunk under the sea after experiencing "earthquakes and floods of extraordinary violence" . While Crete probably did experience earthquakes as a result of Santorini, it is quite plainly still there, not sunk under the waves at all. Supporters of the Crete/Thera theory have two arguments to this. The first is that the eruption of Santorini could have caused a tsunami that would have hit Crete. This would certainly be a watery end for the Minoans, but even stretching the imagination one cannot say that it 'sank' the island."
Abstract This paper looks at the similarities that existed between Greece and Rome in ancient times. The paper also looks at the significant differences that existed between the two civilizations.
From the Paper "As life settled and wars abated in Greece and Rome, time could be devoted to entertainment and education. Greece became prosperous through trading and good leadership. Thus leisure time could be devoted to politics and religion, as well as other entertainment. In Athens for example, a splendid temple was built in honor of the goddess Athena (Unstead 23). Cities were also furnished with open-air assembly places where speeches and voting could be attended. Market places with stalls were surrounded by walks and shops. Theaters were built for the notorious Greek dramas, with marble seats for the richer citizens. 17,000 people could be seated in these theaters. The chorus was a very important part of the Greek tragedy, and actors wore wigs and masks (Unstead 26). Further leisure time was devoted to pottery made in beautiful shapes and decorated with great skill."
Abstract This paper explains that, after the Stone Age, the earliest known Bronze Age culture of Europe and the Mediterranean was the Minoan, an ancient civilization on what is now Crete in the Mediterranean prior to classical Greek culture. The author points out that the advances in building construction led to the widespread use of the arch by the Romans and to the invention of durable cements and concrete for structures that have survived to the present times. The paper clarifies that, although Rome possessed a collection of tribute-states for centuries before the autocracy of Augustus, the pre-Augustan state conventionally is described as the Roman Republic; the difference between the Roman Empire and the Roman Republic lies primarily in the governing bodies and their relationship to each other.
From the Paper "In discussing history over such great spans of time, historians rely on what is known as the classic three-age system. The system divides early human history into three distinct phases based upon the level of technology developed and the materials used in forming tools. These three ages and their exact placement in time vary according to geographic region; some regions developed the use of bronze and iron before others. Indeed, there are still Stone Age cultures extant on the planet, although that is becoming more and rarer as the years pass. Other ages than the ones mentioned are used by archaeology to delineate "sub-ages" that distinguish when a particular material (usually a metal) began to be used in tool-making and industry (examples include the Copper Age, the Silver Age, or the Gold Age)."
An exploration of the conventions of Mesopotamian Art through an examination of four distinct Mesopotamian pieces, including the mediums of relief, stele and painting.
Abstract This paper traces the development of the history of art in Ancient Mesopotamia through a specific study of four well known and well preserved pieces of art. The range of dates runs from 2600 B.C. with an examination of the "Standard of Ur", through to 260 A.D. and the "Triumph of Shapur I". It looks at how this period of art history is critical to an understanding of the art of the ancient world and logically precedes Egyptian, Minoan, Greek and Roman Art.
From the Paper "Of Standard of Ur's two main sides, the 'war side' has immediately recognizable conventions similar to those found in Triumph of Shapur I; four-wheeled war chariots ride down enemies, the bodies of which are trampled beneath the hoofs of the animals. The depictions of war and victory are common motifs in Mesopotamian art. Here, as in Triumph of Shapur I, conventionalization is used, and the four bodies trampled beneath the war chariots, like the trampled body of the Roman soldier from Bishapur, represent the many killed. On the middle tier, the victorious army leads away naked and defeated captives."
