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Costis Davaras is not the first scholar to compare the Bronze Age cultures of Crete and India. Prompted by an invitation to attend the World Archaeological Congress in New Delhi in 1994, he takes an eclectic look at parallels and affinities' between the two cultures, especially with regard to art and religion. With no physical or factual evidence that Cretans, or Cretan objects, ever reached this far into Asia, Davaras' suggestions are purely hypothetical and at best speculative, but they may achieve some heightened understanding of aspects of either culture. The fact that these are two cultures at the geographical extremes of the same Oriental cultural continuum' may not convince everyone that they remain worthy of comparison.
This book examines similarities and differences between art in ancient Indian (Indus) civilizations and that of the Aegean civilizations. The comparison raises questions about possible cross-cultural influences, which became more significant following Alexander’s invasion and the subsequent adaptation of Indian art under the Indo-Greek kingdoms.
The first contacts between Greece, the Aegean and India are generally thought to have occurred at the beginning of the sixth century BC. There is now, however, growing evidence of much earlier but indirect connections, reaching back into prehistory. These were initially between India and its Indus Civilisation (Melu??a) and the Near East and then finally with the societies of the Early and Middle Bronze Age Aegean,with their slowly emerging palace-based economies and complex social structures. Starting in the middle of the third millennium BC but diminishing after approximately 1800 BC, these connections point to a form of indirect or what might be called ‘trickle-down’ contact between the Aegean and India. From the start, until 2500 BC, the objects and commodities that formed this contact were transported overland, through Northern Iran, but after that time, the Harappans took control and we see a structured trade using the sea out through the Persian Gulf. These contacts can also be placed into three categories: (a) the importation of objects manufactured in India or made from Indian commodities imported into the Near East,which eventually found their way to the Aegean and have parallels at Indian sites; (b) the importation of inorganic commodities such as tin, possibly some gold and lapis lazuli, exported from India or Central Asia under Harappan control; and (c) the importation of non-perishable organic commodities. This study views the Aegean as part of a greater trade network and here the author has attempted to both evaluate and re-evaluate what evidence and speculation there are for such contacts, particularly for the commodities such as tin and lapis lazuli as well as more recently discovered objects. It is emphasised that this does not testify to direct cultural and trade links and geographical knowledge between the Harappans and the prehistoric Aegean in the third and second millennia BC; it was just the natural extension of trade between the Near East and India. No goods or commodities arrived directly from India; they accumulated added value as they first built up a distinguished pedigree of ownership in the Near East and Syro-Palestine. In the Early to Late BronzeAges, India was an important resource for valuable and indispensable commodities destined for the elites and developing technologies of much of the Old World. Finally, the author has examined the period after the end of the Bronze Age to the time of Alexander the Great and particularly the period after the sixth century, when Greeks were now beginning to know a little about India. Within 200 years India was known to scholar and non-scholar alike, such as those who witnessed the Persian invasions of Greece or who later became Macedonian and Greek foot soldiers.
This volume centres on how the exchange routes transformed the frontier regions of the Silk Road. In doing so, it utilises a range of methods to reach an archaeological interpretation of the factors that linked people with the environment; movements, settlements, and beliefs.
Contributions by 37 scholars are brought together here to create a volume in honor of the long and fruitful career of Costis Davaras, former Ephor of Crete and Professor Emeritus of Minoan Archaeology at the University of Athens. Articles pertain to Bronze Age Crete and include mortuary studies, experimental archaeology, numerous artifactual studies, and discussions on the greater Minoan civilization.
Thoroughly researched, Rodney Castleden's Minoans: Life in Bronze Age Crete here sues the results of recent research to produce a comprehensive new vision of the peoples of Minoan Crete. Since Sir Arthur Evans rediscovered the Minoans in the early 1900s, we have defined a series of cultural traits that make the ‘Minoan personality’: elegant, graceful and sophisticated, these nature lovers lived in harmony with their neighbours, while their fleets ruled the seas around Crete. This, at least, is the popular view of the Minoans. But how far does the later work of archaeologists in Crete support this view? Drawing on his experience of being actively involved in research on landscapes processes and prehistory for the last twenty years, Castleden writes clearly and accessibly to provide a text essential to the study of this fascinating subject.
Examines what regional mythologies reveal about the social and cultural orientation and identity of Caria in antiquity.
It has often been claimed that "monsters"--supernatural creatures with bodies composed from multiple species--play a significant part in the thought and imagery of all people from all times. The Origins of Monsters advances an alternative view. Composite figurations are intriguingly rare and isolated in the art of the prehistoric era. Instead it was with the rise of cities, elites, and cosmopolitan trade networks that "monsters" became widespread features of visual production in the ancient world. Showing how these fantastic images originated and how they were transmitted, David Wengrow identifies patterns in the records of human image-making and embarks on a search for connections between mind and culture. Wengrow asks: Can cognitive science explain the potency of such images? Does evolutionary psychology hold a key to understanding the transmission of symbols? How is our making and perception of images influenced by institutions and technologies? Wengrow considers the work of art in the first age of mechanical reproduction, which he locates in the Middle East, where urban life began. Comparing the development and spread of fantastic imagery across a range of prehistoric and ancient societies, including Mesopotamia, Egypt, Greece, and China, he explores how the visual imagination has been shaped by a complex mixture of historical and universal factors. Examining the reasons behind the dissemination of monstrous imagery in ancient states and empires, The Origins of Monsters sheds light on the relationship between culture and cognition.