American School of Classical Studies at Athens eBooks, 2004
Biography of Sara Anderson Immerwahr (Richard Liebhart) Bibliography of Sara Anderson Immerwahr (... more Biography of Sara Anderson Immerwahr (Richard Liebhart) Bibliography of Sara Anderson Immerwahr (Rachel Frew). Part 1: Aegean Prehistory and the East. An Archaeology of Palatial Mason's Marks on Crete (Ian Begg) The Adoption of Pictorial Imagery in Minoan Wall Painting: A Comparativist Perspective (Charles Gates) Power, Privilege, and Landscape in Minoan Art (Anne P Chapin) The "Priest-King" Fresco from Knossos: Man, Woman, Priest, King, or Someone Else? (Maria C Shaw) Crocus Costumes in Aegean Art (Paul Rehak) Reconsidering the Room of the Ladies from Thera (Suzanne P Murray) From Knossos to Kavousi: The Popularizing of the Minoan Palace Goddess (Geraldine Gesell) Wanax to Wanax: Regional Trade Patterns in Mycenaean Crete (Halford W Haskell) The Early Mycenaean Lion Up to Date (Nancy R Thomas ) Some Observations on the "Zygouries" Kylix and Late Helladic IIIB Chronology (Patrick Thomas) Of Granaries and Games: Egyptian (Sarah P Morris) Stowaways in an Athenian Chest (John K Papadopoulos) In Search of Anatolian Apollo (Edwin L Brown) Ritual and Politics in Assyria: Neo-Assyrian Canephoric Stelae for Babylonia (Barbara N Porter ). Part II: The Classical World. Naming the Classical Style (Carol C Mattusch) Interlaced Fingers and Knotted Limbs: The Hostile Posture of Quarrelsome Ares on the Parthenon Frieze (Ann M Nicgorski) Classical Signs and Anti-Classical Signification in 4th Century Athenian Architecture (Rhys F Townsend) Family Portraits: Recognizing the Oikos on Attic Red-Figure Pottery (Robert F Sutton, Jr) For the Mother and for the Daughter: Some Thoughts on Dedications from Etruria and Praeneste (Nancy de Grummond) The Iconography, Typology and Interpretation of the Eastern Hadrianic Breastplate Type (Richard Gergel) Dedications of Roman Theaters (Mary C Sturgeon).
tunity within the integrated care spectrum, with multiprofessional peer-to-peer learning across b... more tunity within the integrated care spectrum, with multiprofessional peer-to-peer learning across boundaries. It is simple to organise and easy to upscale. We are currently extending this pilot to a further five sites with more formal evaluation. Feedback continues to be very good. In addition, these clinics have the potential to cascade learning wider to other health professionals involved, reduce secondary care referrals and improve patient care.
Pictorial painting in fresco is a defining characteristic of Aegean culture, yet the art form pre... more Pictorial painting in fresco is a defining characteristic of Aegean culture, yet the art form presents numerous challenges to modern study. Prehistoric frescoes are durable but fragile, and as little as five to ten percent of any given composition may survive to the present day. Attempts to restore the original appearance of such fragmentary paintings often result in errors or overly imaginative reconstructions. Dating frescoes to specific phases of prehistory is also difficult. Fresco fragments are often found in secondary contexts, and mixed stratigraphy and/or scant documentation of excavations often obscure the dating of surviving frescoes. In the absence of written history, however, the pictorial imagery preserved on frescoes provides crucial information about the social practices and beliefs of the prehistoric Minoan, Cycladic, and Mycenaean civilizations of the Aegean. This article on Aegean wall painting focuses on recent scholarship.
The Annual of the British School at Athens, Nov 1, 1997
FlFTY-SEVEN fragments of an unusual LM I A floral fresco were excavated in 1972 from room P of th... more FlFTY-SEVEN fragments of an unusual LM I A floral fresco were excavated in 1972 from room P of the now inappropriately named Unexplored Mansion at Knossos. 2 Catalogued, reconstructed and published by M. A. S. Cameron in 1984, 3 the fragments are part of a frescoed landscape depicting varieties of flowering plants that are thus far unique in Minoan fresco painting and are identified as 'anemone'-reed hybrids, 'osier'-lily hybrids, 'grasses', and 'frilled flowers' of uncertain species (FIG. 1). In addition to their rarity in Minoan art, these plants are painted with unusual variations in technique ranging from strongly painted, opaque brushstrokes to light, almost 'impressionistic' touches of the brush that create quivering petals for the 'frilled flowers' and crisscross rapidly to suggest a tangle of 'grasses'. 4 Even an added sense of depth is intimated by the overlapping of two nodding 'anemone' flower heads (no. 6). 3 Though now crumbling, worn and fragmentary, it is clear that the fresco was produced by an Aegean artist of talent, creativity, and originality. The importance of the Floral fresco to the study of Aegean wall painting, however, remains largely unrecognized, perhaps because Cameron limited his discussion principally to the description, identification, and recreation of the floral elements. The placement of the landscape in the larger context of Aegean mural painting is not examined in detail, and its potential significance in the debate over the religious character of Aegean landscape painting remains unexplored. These oversights are compounded by a number of flaws and omissions in Cameron's reconstruction. Eight catalogued fragments representing 'frilled flowers', vegetative motifs, and speckled rockwork, for instance, are not incorporated into Cameron's drawing (nos. 12 b, 20 b, 20 c, 21, 23, 24 b, 38, 39), and a ninth fragment depicting an 'osier' is placed oddly out of context on the far right end of the reconstruction (no. 33). Additionally, Cameron makes little attempt to give a full sense of the landscape setting. Background features are ' This study began as part of the research for my dissertation, 'Landscape and Space in Aegean Bronze Age Art' (Ph.D. diss.,
The Minoans appear to have placed a special and even ritual premium on curated objects that stimu... more The Minoans appear to have placed a special and even ritual premium on curated objects that stimulated memory, such as heirlooms and antiques. Some imported Old and Middle Kingdom Egyptian objects, for example, were curated by the Minoans for centuries before deposition, often in tombs. Minoan stone bull’s-head and relief rhyta – never found intact, and with pieces always missing – appear to have been intentionally smashed, with pieces given to witnesses as mementos of the occasion; some of these pieces were curated for generations before being deposited in ritual contexts. In the same way, antique Minoan objects were sometimes curated into the Mycenaean period, as exemplified by Neopalatial vessels found in LM III contexts, or by the fragments of Minoan stone bull’s-head rhyta found in LH III contexts on the mainland. This practice of curation, however, is not specific to the Aegean; it is in fact common to a large number of cultures, both ancient and modern. Two LH IIIA2/B alabastra found at Ugarit, for example, had been curated there for nearly a century before the city’s destruction. Fragments of animal-headed cups were curated in Philistia, only to be deposited later in ritual contexts. The tomb of Tutankhamun contained a number of curated objects, including a lock of hair from his grandmother Tiye, and travertine vessels from the reign of his great-great-great grandfather Tuthmosis III. Among the Samburu of Kenya, antique Venetian trade beads—prized for their exoticness and distance-value—have been passed down through generations of women at their weddings as symbols of fertility and abundance. The Haya of Tanzania curate the clothing of a deceased head of household; the clothing is subsequently worn by his successor as a means of transferring power to the new generation. After libations at a shrine, the Aymara of Bolivia curate and display the empty libation vessels next to the effigy of the deity, where they serve as reminders (both to the deity and to future visitors at the shrine) of the piety of those who poured the libations – a practice that may very well echo the curation of countless offering vessels at Minoan extramural sanctuaries. In this paper, we explore a wide array of such cross-cultural and ethnographic evidence for curation. Our aim is to illuminate the range of potential meanings that this practice had in the Bronze Age Aegean, and the spectrum of potential ways in which this practice was intended to stimulate Minoan and Mycenaean memory.
Biography of Sara Anderson Immerwahr (Richard Liebhart) Bibliography of Sara Anderson Immerwahr (... more Biography of Sara Anderson Immerwahr (Richard Liebhart) Bibliography of Sara Anderson Immerwahr (Rachel Frew). Part 1: Aegean Prehistory and the East. An Archaeology of Palatial Mason's Marks on Crete (Ian Begg) The Adoption of Pictorial Imagery in Minoan Wall Painting: A Comparativist Perspective (Charles Gates) Power, Privilege, and Landscape in Minoan Art (Anne P Chapin) The "Priest-King" Fresco from Knossos: Man, Woman, Priest, King, or Someone Else? (Maria C Shaw) Crocus Costumes in Aegean Art (Paul Rehak) Reconsidering the Room of the Ladies from Thera (Suzanne P Murray) From Knossos to Kavousi: The Popularizing of the Minoan Palace Goddess (Geraldine Gesell) Wanax to Wanax: Regional Trade Patterns in Mycenaean Crete (Halford W Haskell) The Early Mycenaean Lion Up to Date (Nancy R Thomas ) Some Observations on the "Zygouries" Kylix and Late Helladic IIIB Chronology (Patrick Thomas) Of Granaries and Games: Egyptian (Sarah P Morris) Stowaways in an Atheni...
American School of Classical Studies at Athens eBooks, 2004
Biography of Sara Anderson Immerwahr (Richard Liebhart) Bibliography of Sara Anderson Immerwahr (... more Biography of Sara Anderson Immerwahr (Richard Liebhart) Bibliography of Sara Anderson Immerwahr (Rachel Frew). Part 1: Aegean Prehistory and the East. An Archaeology of Palatial Mason's Marks on Crete (Ian Begg) The Adoption of Pictorial Imagery in Minoan Wall Painting: A Comparativist Perspective (Charles Gates) Power, Privilege, and Landscape in Minoan Art (Anne P Chapin) The "Priest-King" Fresco from Knossos: Man, Woman, Priest, King, or Someone Else? (Maria C Shaw) Crocus Costumes in Aegean Art (Paul Rehak) Reconsidering the Room of the Ladies from Thera (Suzanne P Murray) From Knossos to Kavousi: The Popularizing of the Minoan Palace Goddess (Geraldine Gesell) Wanax to Wanax: Regional Trade Patterns in Mycenaean Crete (Halford W Haskell) The Early Mycenaean Lion Up to Date (Nancy R Thomas ) Some Observations on the "Zygouries" Kylix and Late Helladic IIIB Chronology (Patrick Thomas) Of Granaries and Games: Egyptian (Sarah P Morris) Stowaways in an Athenian Chest (John K Papadopoulos) In Search of Anatolian Apollo (Edwin L Brown) Ritual and Politics in Assyria: Neo-Assyrian Canephoric Stelae for Babylonia (Barbara N Porter ). Part II: The Classical World. Naming the Classical Style (Carol C Mattusch) Interlaced Fingers and Knotted Limbs: The Hostile Posture of Quarrelsome Ares on the Parthenon Frieze (Ann M Nicgorski) Classical Signs and Anti-Classical Signification in 4th Century Athenian Architecture (Rhys F Townsend) Family Portraits: Recognizing the Oikos on Attic Red-Figure Pottery (Robert F Sutton, Jr) For the Mother and for the Daughter: Some Thoughts on Dedications from Etruria and Praeneste (Nancy de Grummond) The Iconography, Typology and Interpretation of the Eastern Hadrianic Breastplate Type (Richard Gergel) Dedications of Roman Theaters (Mary C Sturgeon).
tunity within the integrated care spectrum, with multiprofessional peer-to-peer learning across b... more tunity within the integrated care spectrum, with multiprofessional peer-to-peer learning across boundaries. It is simple to organise and easy to upscale. We are currently extending this pilot to a further five sites with more formal evaluation. Feedback continues to be very good. In addition, these clinics have the potential to cascade learning wider to other health professionals involved, reduce secondary care referrals and improve patient care.
Pictorial painting in fresco is a defining characteristic of Aegean culture, yet the art form pre... more Pictorial painting in fresco is a defining characteristic of Aegean culture, yet the art form presents numerous challenges to modern study. Prehistoric frescoes are durable but fragile, and as little as five to ten percent of any given composition may survive to the present day. Attempts to restore the original appearance of such fragmentary paintings often result in errors or overly imaginative reconstructions. Dating frescoes to specific phases of prehistory is also difficult. Fresco fragments are often found in secondary contexts, and mixed stratigraphy and/or scant documentation of excavations often obscure the dating of surviving frescoes. In the absence of written history, however, the pictorial imagery preserved on frescoes provides crucial information about the social practices and beliefs of the prehistoric Minoan, Cycladic, and Mycenaean civilizations of the Aegean. This article on Aegean wall painting focuses on recent scholarship.
The Annual of the British School at Athens, Nov 1, 1997
FlFTY-SEVEN fragments of an unusual LM I A floral fresco were excavated in 1972 from room P of th... more FlFTY-SEVEN fragments of an unusual LM I A floral fresco were excavated in 1972 from room P of the now inappropriately named Unexplored Mansion at Knossos. 2 Catalogued, reconstructed and published by M. A. S. Cameron in 1984, 3 the fragments are part of a frescoed landscape depicting varieties of flowering plants that are thus far unique in Minoan fresco painting and are identified as 'anemone'-reed hybrids, 'osier'-lily hybrids, 'grasses', and 'frilled flowers' of uncertain species (FIG. 1). In addition to their rarity in Minoan art, these plants are painted with unusual variations in technique ranging from strongly painted, opaque brushstrokes to light, almost 'impressionistic' touches of the brush that create quivering petals for the 'frilled flowers' and crisscross rapidly to suggest a tangle of 'grasses'. 4 Even an added sense of depth is intimated by the overlapping of two nodding 'anemone' flower heads (no. 6). 3 Though now crumbling, worn and fragmentary, it is clear that the fresco was produced by an Aegean artist of talent, creativity, and originality. The importance of the Floral fresco to the study of Aegean wall painting, however, remains largely unrecognized, perhaps because Cameron limited his discussion principally to the description, identification, and recreation of the floral elements. The placement of the landscape in the larger context of Aegean mural painting is not examined in detail, and its potential significance in the debate over the religious character of Aegean landscape painting remains unexplored. These oversights are compounded by a number of flaws and omissions in Cameron's reconstruction. Eight catalogued fragments representing 'frilled flowers', vegetative motifs, and speckled rockwork, for instance, are not incorporated into Cameron's drawing (nos. 12 b, 20 b, 20 c, 21, 23, 24 b, 38, 39), and a ninth fragment depicting an 'osier' is placed oddly out of context on the far right end of the reconstruction (no. 33). Additionally, Cameron makes little attempt to give a full sense of the landscape setting. Background features are ' This study began as part of the research for my dissertation, 'Landscape and Space in Aegean Bronze Age Art' (Ph.D. diss.,
The Minoans appear to have placed a special and even ritual premium on curated objects that stimu... more The Minoans appear to have placed a special and even ritual premium on curated objects that stimulated memory, such as heirlooms and antiques. Some imported Old and Middle Kingdom Egyptian objects, for example, were curated by the Minoans for centuries before deposition, often in tombs. Minoan stone bull’s-head and relief rhyta – never found intact, and with pieces always missing – appear to have been intentionally smashed, with pieces given to witnesses as mementos of the occasion; some of these pieces were curated for generations before being deposited in ritual contexts. In the same way, antique Minoan objects were sometimes curated into the Mycenaean period, as exemplified by Neopalatial vessels found in LM III contexts, or by the fragments of Minoan stone bull’s-head rhyta found in LH III contexts on the mainland. This practice of curation, however, is not specific to the Aegean; it is in fact common to a large number of cultures, both ancient and modern. Two LH IIIA2/B alabastra found at Ugarit, for example, had been curated there for nearly a century before the city’s destruction. Fragments of animal-headed cups were curated in Philistia, only to be deposited later in ritual contexts. The tomb of Tutankhamun contained a number of curated objects, including a lock of hair from his grandmother Tiye, and travertine vessels from the reign of his great-great-great grandfather Tuthmosis III. Among the Samburu of Kenya, antique Venetian trade beads—prized for their exoticness and distance-value—have been passed down through generations of women at their weddings as symbols of fertility and abundance. The Haya of Tanzania curate the clothing of a deceased head of household; the clothing is subsequently worn by his successor as a means of transferring power to the new generation. After libations at a shrine, the Aymara of Bolivia curate and display the empty libation vessels next to the effigy of the deity, where they serve as reminders (both to the deity and to future visitors at the shrine) of the piety of those who poured the libations – a practice that may very well echo the curation of countless offering vessels at Minoan extramural sanctuaries. In this paper, we explore a wide array of such cross-cultural and ethnographic evidence for curation. Our aim is to illuminate the range of potential meanings that this practice had in the Bronze Age Aegean, and the spectrum of potential ways in which this practice was intended to stimulate Minoan and Mycenaean memory.
Biography of Sara Anderson Immerwahr (Richard Liebhart) Bibliography of Sara Anderson Immerwahr (... more Biography of Sara Anderson Immerwahr (Richard Liebhart) Bibliography of Sara Anderson Immerwahr (Rachel Frew). Part 1: Aegean Prehistory and the East. An Archaeology of Palatial Mason's Marks on Crete (Ian Begg) The Adoption of Pictorial Imagery in Minoan Wall Painting: A Comparativist Perspective (Charles Gates) Power, Privilege, and Landscape in Minoan Art (Anne P Chapin) The "Priest-King" Fresco from Knossos: Man, Woman, Priest, King, or Someone Else? (Maria C Shaw) Crocus Costumes in Aegean Art (Paul Rehak) Reconsidering the Room of the Ladies from Thera (Suzanne P Murray) From Knossos to Kavousi: The Popularizing of the Minoan Palace Goddess (Geraldine Gesell) Wanax to Wanax: Regional Trade Patterns in Mycenaean Crete (Halford W Haskell) The Early Mycenaean Lion Up to Date (Nancy R Thomas ) Some Observations on the "Zygouries" Kylix and Late Helladic IIIB Chronology (Patrick Thomas) Of Granaries and Games: Egyptian (Sarah P Morris) Stowaways in an Atheni...
Woven textiles are produced by nearly all human societies. This volume investigates evidence for ... more Woven textiles are produced by nearly all human societies. This volume investigates evidence for patterned textiles (that is, textiles woven with elaborate designs) that were produced by two early Mediterranean civilizations: the Minoans of Crete and the Mycenaeans of mainland Greece, that prospered during the Aegean Bronze Age, c. 3000-1200 BC, contemporary with Pharaonic Egypt. Both could boast of specialists in textile production. Together with their wine, oil, and art, Minoan and Mycenaean textiles were much desired as trade goods. Artistic images of their fabrics preserved both in the Aegean and in other parts of the Mediterranean show elaborate patterns woven with rich decorative detail and color. Only a few small scraps of textiles survive but evidence for their production is abundant and frescoes supply detailed information about a wide variety of now-lost textile goods from luxurious costumes and beautifully patterned wall hangings and carpets, to more utilitarian decorated fabrics. A review of surviving artistic and archaeological evidence indicates that textiles played essential practical and social roles in both Minoan and Mycenaean societies.
It has been observed, that there is no clear evidence that monumental palaces were constructed on... more It has been observed, that there is no clear evidence that monumental palaces were constructed on the Mainland before LH IIIA1 while previous attempts by Killian to reconstruct a Minoan style “palace” at Pylos during the early Mycenaean period is based on “scanty” remains. In addition, the extent to which the Menelaion “utilized monumental architectural techniques and planning” is yet to be determined. Yet, Dickinson has observed that the state of the evidence in Lakonia is such that a single new find could alter our picture of this region. Although scanty, the remains at Pylos and elsewhere are nevertheless of high quality, including important features such as ashlar masonry and mason’s marks. Furthermore, other evidence such as monumental tombs and wealthy grave goods, suggest the mechanisms for “palatial authority” were already in place well before LH III. Based on a re-evaluation of this evidence and of survey data from Lakonia and the Peloponnese, we hypothesize that a trade network of regional centers in place in Lakonia by the Middle Helladic period gave rise to the emergence of central administrative structures in the region by the LH II period.
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Papers by Anne Chapin