The Minoans: Frescoes

The Stream of Time

The Great Thalassocracy of Minoa The Minoans: Paleolithic and Neolithic Crete The Minoans: The Pre-Temple Period The Minoans: The Old Temple Period The Minoans: The Common People The Minoans: Fashion The Minoans: Their Polity The Minoans: The Labyrint The Minoans: Urban Life The Minoans: Frescoes The Minoans: Religion The Minoans: Craftsmanship The Minoans: Seals and Sealings The Minoans: International Trade, Colonies, and Sh... The Minoans: Warfare Late Bronze Age Mainland Greece: The Mycenaeans The Mycenaeans: Their Burials The Mycenaeans: The Rise and Fall of Their Culture... The Mycenaeans: Frescoes The Minoans: Aegean Decline and the Bronze Age Col... The Minoans: Classical Mythology and Modern Archeo... The Minoans: As An Expression of Culture The Minoans: General References (Slides and Videos...

 

 The Minoans are considered the first European civilization. They were in one sense the first "Greek" civilization. But the people were not Greek. They came from Asia Minor (Anatolia) around 2600 BCE while still in the neolithic age. They were of medium height with black curly hair and brown eyes.

During the Bronze Age, starting around 1900 BCE, they developed into a sophisticated trade power in the Mediterranean. They were not a warrior culture like the Mycenaeans and later Greeks. The Minoans had a fleet to protect their trade ships from pirates, but probably not a military navy.

They were fortunate in their location. The civilization was based on the island of Crete, and expanded to other island cities in the Mediterranean. Their island location probably protected them from serious invasion, and their position as a crossroads to Asia, Africa and Europe facilitated their economic success.

 

 

Outline of two antelopes symmetrically arranged. See: Wall Paintings of Thera

 

 

 Wall painting fragments with a representation of a wild boar hunt. From the later Tiryns palace. National Archaeological Museum, Athens.

 

 

 
The bull-leaping fresco, original. Found in Knossos palace, Crete, Greece. It dates around 1600 - 1450 BCE. Part of a five-panel composition, the iconic Toreador Fresco depicts an acrobat at the back of a charging bull. A second figure prepares to leap, while a third waits with arms outstreched. The event may have resemnled the Course alandaise of modern southwest France. Bulls feature centrally in Knossian icongraphy and may have acted as a symbol of Knossian power. The central court may have served as an arena for bull-sports, although it was barely large enough

 

 Minoean Pallace, Knossos, Crete, Greece

 

 

 

 Knossos fresques 

 

 Archeological Museum of Herakleion. Fresco fragment of a dancing woman ( Knossos, 1600-1450 B.C. )

 

 Delphins of Knossos

 

 Fresco of a fisherman, Akrotiri, Santorini, Greece. Height: 1.10 m

 

 
fresco of a flying fish from the bronze age excavation of Phylakopi on the greek island Milos.

 

Knossos, trône royal.

 

 Fresco from Knossos palace

 Head, torso of female with long tresses, headband, dress with full bodice, wearing necklaces, wristlets, holding up a necklace in the right hand. 

 

 The "Parisian", fresco, Knossos, Greece. Neopalatial period 1350 B.C. Herakleion Archaeological Museum.

 

 
Minoan fresco commonly known as the "Prince of the Lilies"

 

 

 

Cycladic Town Fresco, Akrotiri, Thera.  

The Akrotiri Boxer Fresco, discovered in 1967, is a Cycladic fresco depicting two young boys wearing boxing gloves and belts and dates back to the Bronze Age, 1700 BCE. Between 1650 and 1550 BCE, a disastrous earthquake, followed by a volcanic eruption, covered Akrotiri in a thick layer of pumice and ash, which resulted in the remarkable conservation of frescoes, including the Akrotiri Boxer Fresco, from multiple buildings throughout the town. This particular fresco was found in room B1 of Building Beta along with the Antelope Fresco. The boys' shaved heads and stray locks indicate their youth, while their darker skin tone indicates their gender. The boy on the right is completely nude except for a belt, whereas the boy on the left has jewelry; most likely markers of a higher status. They appear to be slightly over life size at roughly 5'10". In order to create such vibrant frescoes, a smooth lime plaster was applied to the walls and then painted over. It is unsure if the match was a competitive one or simply a routine sport.

The Minoans: Frescoes 

 

 

The Processi

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In the eastern section of room 1 of the House of Ladies, two female figures are engaged in an unknown activity. However, only a small portion of the figure’s skirt and forearm remain.
The woman depicted has rich, flowing black tresses and a red streak on the cheek. She wears a gold ear-ring and a bracelet on her left arm. The position of the arms made it impossible to depict a necklace. The figure is shown bending forward at an angle of about 70°, so that her inordinately large breast is exposed and hangs down from the decolletage of her bodice. This lady’s feet also protrude from beneath her Minoan style skirt. Again the position of the arms indicates that she is participating in some activity taking place in front of her (east) where, in the course of the reconstruction of the frescos, a fragment of wall-painting probably showing part of the arm of another female figure has been placed. Exactly below the surviving fragments of the arms of the bare-breasted figure, is preserved part of the representation of another Minoan skirt which creates a little visual confusion.

The most popular interpretation of this wall-painting suggests a religious significance. An alternative interpretation is that this wall-painting celebrates an important event in the life of the a missing figure.

 

The frescoes of three elaborately dressed women were found in the “Lustral Basin” of Xeste 3. They appear to be heading towards what scholars have interpreted as an altar/shrine. The women’s rich clothing, fine jewelry, and meticulous grooming indicate the social status and importance of this composition.
This replica shows the first figure from the left, the western most, advancing towards the altar. In her left hand a necklace of rock crystal beads. She is portrayed with her head in profile, her chest in three-quarter pose and the lower body in profile. Her curvaceous body is readily discernible beneath her transparent sleeved bodice, which is embroidered with crocus stamens. As in many other Minoan frescoes, her breasts are bared. Although the artist skillfully conveys the allure of the female form through the transparent fabrics, he has some limitations conveying the perspective of the right breast. This, like his Egyptian contemporaries, depicts an elegant young female with just one breast.

 

 

 

 

 

 

Mini Papyrus Plants

 Found in the West section of the House of Ladies, frescos of massive, three stemmed, blossoming plants are painted on the walls. The lower zone is painted in a reddish-yellow color with an undulating curve, presumably an attempt at rendering uneven ground. The stems spring from clusters of outwardly curving leaves and bear bell shaped flowers. The stamens project above the rim of the flower. The colors used by the artist in rendering the plants are black, blue and yellow. In the repetitive motif, each grouping of the plants shows clusters of three stalks surrounded by two triads of leaves and the fixed number of seven stamens.

Dual Papyrus Plants

 Found in the West section of the House of Ladies, frescos of massive, three stemmed, blossoming plants are painted on the walls. The lower zone is painted in a reddish-yellow color with an undulating curve, presumably an attempt at rendering uneven ground. The stems spring from clusters of outwardly curving leaves and bear bell shaped flowers. The stamens project above the rim of the flower. The colors used by the artist in rendering the plants are black, blue and yellow. In the repetitive motif, each grouping of the plants shows clusters of three stalks surrounded by two triads of leaves and the fixed number of seven stamens.

 

 

The Saffron Goddess

 The Saffron Goddess is a detail from a fresco depicting a saffron harvest. The flowers are being picked by young girls and monkeys. This Minoan goddess supervises the plucking of flowers and the gleaning of stigmas for use in the manufacture of what is possibly a therapeutic drug. Standing guard is a stylized griffin. The mythological griffin, thought to be an especially powerful and majestic creature, was considered to be a combination of the body of a lion as king of the beasts and the head of an eagle as the king of the birds. Minoan frescoes are the first botanically accurate visual representations of saffron’s use as an herbal remedy. Minoans discovered the value of saffron and there is enough evidence to believe that they were using it to treat wounds. This theory is reinforced in another fresco from the site which depicts a young woman using saffron to treat her bleeding foot. (Fresco to come)

 

The Saffron Gatherer

The Egyptians had a limited number of colors that they used for their murals. White, black, red, yellow, blue and green. The pigments that were used were almost all manufactured from naturally occurring mineral substances. The Egyptians later learned to create mixed colors from the primary ones, such as grey, pink, and brown.

This replica shows two women are depicted in a field of crocuses. The older figure (not shown) is gathering flowers with her right hand, while holding a basket in her left. The younger figure, with the shaved blue head, is gathering the stamens with both hands. The age difference, manner of dress and the way they're interacting may imply that this figure is a student. The Crocus grows even today on the Aegean islands and mainland Greece. Saffron, which is derived from the stamen of the crocus, has been used as a dye, a medicine, a spice and a perfume for centuries. Saffron in Akrotiri likely used for the dyeing of robes. Saffron-colored robes are found throughout the wall-paintings, mostly adorning women. In Classical Greece, crocus dye was a symbol of supremacy and wealth.

The ancient inhabitants of the island of Thera were quite aware that they had built their city on a volcanic island, as evidenced in this painting in the black and red volcanic stone and soil on which the girl is gathering her flowers.

 

Since these plants are stylized, their actual identification has caused much academic debate. Since the late 1960s, they have been recorded as sea-lilies, sea daffodils or Papyrus. Sea-lilies still grow on the beach and seaside of Santorini, blooming in late summer. But recent studies have concluded that these flowers are more likely to be papyrus. Not only do the Theran stylistic renditions of these flowers have parallels in Egyptian papyrus imagery, but also evidence suggests the existence of papyrus in Crete during the Bronze Age. Also, the height of the flowers, which fill the walls, suggest a scale better suited to a papyrus than to the much smaller sea-lily. Papyrus grows to up to the scale of the frescoes and displays a symmetry equivalent to the flowers in this wall-painting.

 

Since these plants are stylized, their actual identification has caused much academic debate. Since the late 1960s, they have been recorded as sea-lilies, sea daffodils or Papyrus. Sea-lilies still grow on the beach and seaside of Santorini, blooming in late summer. But recent studies have concluded that these flowers are more likely to be papyrus. Not only do the Theran stylistic renditions of these flowers have parallels in Egyptian papyrus imagery, but also evidence suggests the existence of papyrus in Crete during the Bronze Age. Also, the height of the flowers, which fill the walls, suggest a scale better suited to a papyrus than to the much smaller sea-lily. Papyrus grows to up to the scale of the frescoes and displays a symmetry equivalent to the flowers in this wall-painting.

 

In Minoan society everything was painted on: walls, floors, toys, pottery, figurines, columns, and even clothing, but sadly only 5-10% of any given fresco survived. In temples wood columns were painted red, and stone friezes commonly show rosettes. True frescoes are painted on wet lime plaster, but Minoan artists also painted on dry surfaces. This was in stark contrast to their Egyptian neighbors, who painted directly on limestone or dry gypsum plaster. Wall and ceiling plaster was sometimes modeled in relief, such as the spiral relief in the north wing of Knossos, the bull relief at the north entrance passage, and the bull-grappling fresco in the east wing. Frescoes are found everywhere: in houses, shrines, and in temples.

 

The Hall of the Shields at Knossos

The origin of fresco painting is truly in the neolithic and EM periods. Important buildings during the FN (final Neolithic) and EM periods had their walls and floors covered in plaster. This early plaster consisted of lime mixed with clay, and was sometimes colored red or black, strikingly similar to the conventions of Catalhoyuk's plaster wall painting thousands of years earlier in the 7^th millennium BCE. By the MM period, around 1,900 BCE, Minoans began to paint red and white geometric patterns on temples, they used flat washes on their temple walls. The earliest true frescoes are from around 1,700 BCE and the practice flourished during the NT period. Many early frescoes used dark red prominently, and the color continued its prominence through the NT period as the color of the Knossian palace's columns.

A diagram of the pigments used in Minoan frescoes

 

By the MM period high purity lime plaster and a greater variety of pigments allowed fresco painting to proliferate. The colors used in frescoes came from a wide variety of sources. Red and yellow came from ochers, black from carbonaceous shale or charred bone, blue from copper tinted glass or ground lapis lazuli. Green, pink, and grey were created from mixing pigments, but shading in light and dark was never used. Minoans painted real figures such as humans and animals, but not everything was done in a strictly realistic manner. Abstract swirling geometric designs are intricately incorporated into many frescoes, most notably into the griffins in the Throne Room at Knossos. Fresco painting usually involved three zones: repeating patterns above windows or doorways, the main composition in the center of the wall, and dado at the floor level, often imitating stonework.

 

 

A decorative frieze at the palace at Knossos

Detail from that frieze

 

Detail of a rosette on a griffin in the Throne Room fresco at Knossos. The rosette is located on the griffin's shoulder, it should be noted that this picture is upside down and the flowers actually point downward

 

 

 

 

Decorative rosettes from a fresco at Akrotiri, on the island of Thera

Detail of a fresco now in Evan's reconstructed “Gallery”

Animals are commonly found in frescoes, especially monkeys. Monkeys are always painted blue, as was the Egyptian fashion, some even wearing harnesses. Dolphins, fish, and octopuses are common subjects. People are often shown smiling. While there are scenes of nature in Minoan frescoes, they are often exacted with an unrealistic aesthetic strategy, and incorporate a kind of abstract minimalism. The Spring fresco in Akrotiri shows this design style, as flowers and birds become a few interspersed brush strokes. The background in the Blue Bird fresco also exhibits this aesthetic sense.

 

 

 

 

The Spring fresco in full, at Akrotiri

 

 

 

 

 

The lily fresco from the storeroom of house X of the southern area, Kommos, Crete, Minoan

Detail from the Monkey fresco

Blue Monkeys from the Beta 6 fresco at Akrotiri

The Blue Bird fresco from the House of the Frescoes at Knossos

The Blue Bird fresco in full

Detail of the Dolphin fresco at Knossos

Minoan frescoes of goats and the Boxer fresco at Akrotiri

 

 

 

 

A flying fish from a Minoan fresco

Minoan miniature frescoes are impressive, and from 1,700-1,400 Crete was the epicenter of Aegean fresco artistry. The sizes of frescoes ranged from truly tiny (a few centimeters across) to life sized humans. On the Procession fresco in the Knossos labyrinth fabrics are etched onto the figures with a string, allowing for ultra detailed lines and patterns. The attention to extreme detail shows itself in the intricately designed clothing on the life sized frescoes, such as the Cupbearer at Knossos, and the elaborate Procession fresco. The Villa of the Lillies at Amnisos includes 7 zones of differing ocher use with a decorative criss-cross pattern.

 

 

The Cupbearer fresco from Knossos

The Procession Fresco, this picture is actually much larger, please download it and zoom in

When ceremonies are depicted in frescoes, the priestesses are shown bedecked in bright colors, and are always central in the painting's narrative. Forming a background to the priestess foreground in such frescoes is the crowd, the commoners who flocked to such celebrations. In the Sacred Grove fresco they are drawn without individual identities only represented as a repeating pattern of bobbing faces lost in a sea of dark red. This was partially done out of necessity, as the entire fresco itself is already a miniature, making each face extremely small and details neigh impossible. The skill required to make this miniature fresco is astounding, and even with the size constraints the artist managed to create a pleasing and distinctively Minoan aesthetic. 

 

The Sacred Grove miniature fresco

Arthur Evans assumed that Minoans were great lovers of nature since natural scenes are heavily represented in their frescoes. This wrongheaded stereotype of Minoan and LBA Aegean culture is still somewhat pervasive in modern society. In the academic community much of Arthur Evans' interpretation has been debunked, Arthur Evan's interpretation relies too heavily on his own western sensibilities. When Evans saw nature, he saw placid and idyllic romanticism, and in doing so overlaid his 19^th century world view onto the Minoan world.

“...the roses on their tea cups and the ivy-covered trellises on their wallpaper would not blind us to the Victorians' capacity to exploit child labor and commit acts of ruthless military aggression in India and Africa.” - Rodney Castleden

The “sacral ivy” fresco from the House of the Frescoes, Knossos, from pg 67 of The Arts in Prehistoric Greece, by Sinclair Hood

Much of the Minoan's frescoes depict not nature strictly, but show an entire other world. As Castleden puts it, they “call down deities” as the individual's experience of the frescoes was entirely intertwined with its cultic aspects. The frescoes are brimming with meaning lost now to humans today, a meaning significantly more complex than Evans' “reverence of nature”. The plants and animals often depicted in frescoes are in fact not natural, but supernatural. Imaginary plants are shown, curled into elaborate spirals. Various plants which bloomed at different times of the year are seen in frescoes blooming together, setting the whole scene apart from a standard depiction of the natural world. Otherworldly Griffins are a common theme in Minoan art but their intended symbolic usage is also now lost on us. They seem to always accompany priestesses cementing their connection between Minoan myth and the real world. On the famous Agia Triadha larnax (a clay sarcophagus) a goddess is shown driving a chariot pulled by griffons. There is no explanation for what that scene represents, but certainly it is outside of the natural world and depicts the realm of myth. Frescoes are often used as symbolic “signposts”, such as painting processions in hallways in which processions took place. It is very likely that the minds of many Minoans would have entirely connected these frescoes to their cultic activities. What did priestesses think when they saw frescoes of griffons, and what did artists feel as they painted such scenes? We sadly do not know.

Detail of the Griffin fresco from the Throne Room at Knossos

A wider shot of the Throne Room at Knossos

What is not so clearly seen in Minoan art is their darker side. Bull sacrifices are not shown except in one spot: on the Agia Triadha sarcophagus. This lone depiction of the funerary practices obviously shows gore, with the bull on a sacrificial table surrounded by blood. There is a naval battle shown on the north wall frieze of room 5 of the west house, which shows the dead floating in the water and soldiers dressed to kill with helmets, spears, and shields. A fresco from Akrotiri shows an altar covered in the blood of recent sacrifices, and the Boxer rhyton includes one individual being gored by a bull. These scenes of violence, combat, and blood, are few and far between and the vast majority of frescoes do not show these gruesome consequences of Minoan practices and naval military dominance.

The sacrificial bull from the Agia Triadha sarcophagus

Casualties in the water, from the naval battle fresco at Akrotiri

Minoan fresco art shows their culture only insofar as they desired to see themselves. Both male and female figures are often physically toned and proportionally beautiful, wearing elaborate and form fitting clothing. Minoan frescoes imitated Egyptian frescoes and often painted men in a rosy hue and women in a whiter tone. Even as this is the case, there is much ambiguity when ascertaining the gender of figures with some pieces (such as the Priest King fresco) being neither red nor white. The beautiful and sculpted human figures seen in Minoan frescoes were intended to grace the halls and rooms of the rich, either in their private residences or on the palace-temple's walls. Workshops by the Royal Road in Knossos also include frescoes, and Akrotiri on the island of Thera includes frescoes in every building excavated. The use of frescoes at Akrotiri flies in the face of the exclusive Knossian temple frescoes, suggesting that frescoes were incorporated into many class levels and were brought into the daily lives of more common people. This liberal use of fresco art also suggests that if the remainder of the city of Knossos is explored one would find frescoes commonly as well, although it is possible that each town would have had a different relationship with its painters.

Frescoes only show one aspect of Minoan culture. Not everything was included as a fresco or painted on a jar, and even then what has survived is only a minute fraction of the whole. The complexity between individuals and art, and between art and symbolism, are both completely intertwined with each other and completely invisible in the material record. It would be impossible to deduce the complexity of 12^th century CE medieval society from their stained glass windows, while their existence speaks volumes about the lives of those who lived at the time, it does not tell the full story. Also an interesting problem to note is that an entire species of crafted art (carved wood) has completely disappeared. This is a huge gap in knowledge, so huge its total effective loss is unknown. It would be similarly difficult to truly understand medieval society if by chance no stained glass windows had ever been discovered.

Inaccurate reconstruction from 1914 of a fresco, attributed to Emile Gillieron the son. Actually the blue figure was a monkey, the tail of which is seen on the right

Minoan frescoes are not only found on Crete, or at the nearby Minoan settlement of Akrotiri on Thera, but they are found around the Aegean. Minoan style frescoes are found on the Aegean islands of Melos, Keos, and Rhodes, strikingly similar to NT period designs. Frescoes are also found outside the Aegean, such as at the palace of Yarim-Lim at Alalakh in Syria, where a Minoan style griffin was painted. A Canaanite palace at Tell Kabri had a painted plaster floor and miniature frescoes similar to the ones found at the West House at Akrotiri. Fragments of frescoes found at the royal palace at Qatna, Syria, show Minoan influence, such as spirals, imitation stonework, palm trees, and riverside scenes with crabs and turtles. The most spectacular Minoan frescoes are seen at Avaris in Egypt, the capital of the Hyksos dynasty of Egypt. These frescoes show rocky landscapes, bulls and acrobats, griffins, maze patterns, half rosette friezes, and one leaper has a Theran hairstyle. It is entirely impossible to prove whether these sites around the eastern Mediterranean were done by Minoans or simply by local artisans copying Minoan styles. Either way, the cultural dominance of Minoan artistry was paramount across the near eastern world, popular enough to be desired by foreign rulers from across the sea.

A scene of birds, a wall painting fragment from the Malkata palace made in later reign of Amenhotep III who died in 1,353 BCE. While this fresco is distinctively Egyptian, the upper border of the scene is reminiscent of Minoan abstract dados and includes a repeating pattern of rosettes

References

The Minoans, by Rodney Castleden http://amzn.to/1EaVS2X

Frescoes, by Anne P. Chapin http://www.academia.edu/2076473/_Frescoes_

List of Aegean Frescoes, on Wikipedia http://en.wikipedia.org/wiki/List_of_Aegean_frescos

Posted by Antiquated Antiquarian at 5:54 PM