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Aegean Painting in the Bronze Age is intended as a handbook for the art historian and archaeologist, with a full catalogue of examples (arranged according to site), critical discussion of the problems of chronology, a comprehensive bibliography, maps, drawings of details, and more than 100 photographic plates, 23 in color. This is the only book to give a synthesis of painting and pictorial art from its beginnings in Prepalatial Crete to the collapse of Bronze Age civilization in the Aegean. Immerwahr traces the development of Aegean painting from its origins in Crete through its spread to the Cycladic islands and to the Greek mainland, where it gave rise to the specific Mycenaean style. She studies primarily wall painting but refers also to painting on pottery and the pictorial art of seal engraving. The question of foreign influence from Egypt and Mesopotamia is discussed in connection with the origins of Minoan painting, and the new frescoes from Akrotiri on Thera are used to supplement the much more fragmentary paintings from Sir Arthur Evan's excavations at Knossos. Immerwahr also explores the interrelationship of the Minoan Cretans, the Cycladic islanders with their Minoanized enclaves on Thera and Melos, and the early Greek Mycenean mainlanders.
Offers an innovative theory for ancient art and its creativity, demonstrated through the rich material and visual culture of the protohistoric Aegean.
The papers published here are dedicated to the memory of Ellen N. Davis, one of the most valued and beloved Aegean scholars of her generation. All of the articles are in some way inspired or influenced by Davis' own contributions to the field. In the area of metalwork, several papers investigate interconnections within and around the Aegean during the Early, Middle, and Late Bronze Ages (Betancourt, Ferrence, and Muhly, Weingarten, Kopcke), while others examine metal ware in its social context (Wiener). Papers on wall painting range from studies of pigments and optical illusions (Vlachopoulos), to representations of water (Shank). Anthropomorphic representations, or their absence, of goddesses or priestesses (Jones), rulers (Palaima), or initiates (Koehl) are also studied here with new eyes and fresh insights.
What is the social role of images and architecture in a pre-modern society? How were they used to create adequate environments for specific profane and ritual activities? In which ways did they interact with each other? These and other crucial issues on the social significance of imagery and built structures in Neopalatial Crete were the subject of a workshop which took place on November 16th, 2009 at the University of Heidelberg. The papers presented in the workshop are collected in the present volume. They provide different approaches to this complex topic and are aimed at a better understanding of the formation, role, and perception of images and architecture in a very dynamic social landscape. The Cretan Neopalatial period saw a rapid increase in the number of palaces and 'villas', characterized by elaborate designs and idiosyncratic architectural patterns which were themselves in turn generated by a pressing desire for a distinctive social and performative environment.
This textbook is a compilation of the author's more than 35 years of teaching and excavation experience in the field of Aegean Bronze Age art history and archaeology. It is geared toward an audience of undergraduate and graduate students as an introduction to the Bronze Age art objects and architecture that have been uncovered on Crete, the Greek peninsula, and the Cycladic Islands.
A general introduction to the art and architecture of Greece, the Cycladic islands and Crete, from c.3300 - 1000 BC. The authors have been highly selective in their choice of sites and objects, providing key examples which illustrate the clearly written text. They emphasize the importance of context and the complexities of meaning and function of objects within different environments and situations, and through time. A book geared more to the interested reader and students embarking on Aegean courses, than serious scholars who will already be familiar with the content.
Studies of seals and sealing practices have traditionally investigated aspects of social, political, economic, and ideological systems in ancient societies throughout the Old World. Previously, scholarship has focused on description and documentation, chronology and dynastic histories, administrative function, iconography, and style. More recent studies have emphasized context, production and use, and increasingly, identity, gender, and the social lives of seals, their users, and the artisans who produced them. Using several methodological and theoretical perspectives, this volume presents up-to-date research on seals that is comparative in scope and focus. The cross-cultural and interdisciplinary approach advances our understanding of the significance of an important class of material culture of the ancient world. The volume will serve as an essential resource for scholars, students, and others interested in glyptic studies, seal production and use, and sealing practices in the Ancient Near East, Egypt, Ancient South Asia and the Aegean during the 4th-2nd Millennia BCE.
The Temple University Aegean Symposium was an annual event from 1976 until 1985 sponsored by the Department of Art History at Temple University in Philadelphia, PA. Each year, the symposium focused on a specific theme in Aegean Bronze Age art and archaeology. This book is a collection of the 10 volumes of articles that were published. Aside from incorporating errata, the articles are unchanged from the original publications. A new Preface and page numbering system are included in this compendium.
Provides a broad view of the history and current state of scholarship on the art of the ancient Near East This book covers the aesthetic traditions of Mesopotamia, Iran, Anatolia, and the Levant, from Neolithic times to the end of the Achaemenid Persian Empire around 330 BCE. It describes and examines the field from a variety of critical perspectives: across approaches and interpretive frameworks, key explanatory concepts, materials and selected media and formats, and zones of interaction. This important work also addresses both traditional and emerging categories of material, intellectual perspectives, and research priorities. The book covers geography and chronology, context and setting, medium and scale, while acknowledging the diversity of regional and cultural traditions and the uneven survival of evidence. Part One of the book considers the methodologies and approaches that the field has drawn on and refined. Part Two addresses terms and concepts critical to understanding the subjects and formal characteristics of the Near Eastern material record, including the intellectual frameworks within which monuments have been approached and interpreted. Part Three surveys the field’s most distinctive and characteristic genres, with special reference to Mesopotamian art and architecture. Part Four considers involvement with artistic traditions across a broader reach, examining connections with Egypt, the Aegean, and the Mediterranean. And finally, Part Five addresses intersections with the closely allied discipline of archaeology and the institutional stewardship of cultural heritage in the modern Middle East. Told from multiple perspectives, A Companion to Ancient Near Eastern Art is an enlightening, must-have book for advanced undergraduate and graduate students of ancient Near East art and Near East history as well as those interested in history and art history.
The Greek Bronze Age, roughly 3000 to 1000 BCE, witnessed the flourishing of the Minoan and Mycenean civilizations, the earliest expansion of trade in the Aegean and wider Mediterranean Sea, the development of artistic techniques in a variety of media, and the evolution of early Greek religious practices and mythology. The period also witnessed a violent conflict in Asia Minor between warring peoples in the region, a conflict commonly believed to be the historical basis for Homer's Trojan War. The Oxford Handbook of the Bronze Age Aegean provides a detailed survey of these fascinating aspects of the period, and many others, in sixty-six newly commissioned articles. Divided into four sections, the handbook begins with Background and Definitions, which contains articles establishing the discipline in its historical, geographical, and chronological settings and in its relation to other disciplines. The second section, Chronology and Geography, contains articles examining the Bronze Age Aegean by chronological period (Early Bronze Age, Middle Bronze Age, Late Bronze Age). Each of the periods are further subdivided geographically, so that individual articles are concerned with Mainland Greece during the Early Bronze Age, Crete during the Early Bronze Age, the Cycladic Islands during the Early Bronze Age, and the same for the Middle Bronze Age, followed by the Late Bronze Age. The third section, Thematic and Specific Topics, includes articles examining thematic topics that cannot be done justice in a strictly chronological/geographical treatment, including religion, state and society, trade, warfare, pottery, writing, and burial customs, as well as specific events, such as the eruption of Santorini and the Trojan War. The fourth section, Specific Sites and Areas, contains articles examining the most important regions and sites in the Bronze Age Aegean, including Mycenae, Tiryns, Pylos, Knossos, Kommos, Rhodes, the northern Aegean, and the Uluburun shipwreck, as well as adjacent areas such as the Levant, Egypt, and the western Mediterranean. Containing new work by an international team of experts, The Oxford Handbook of the Bronze Age Aegean represents the most comprehensive, authoritative, and up-to-date single-volume survey of the field. It will be indispensable for scholars and advanced students alike.