The Neopalatial period of Middle to Late Bronze Age Crete is marked by a dramatic increase in the depiction of non-human animals. In contrast to the domesticates listed in the Linear A documents, the animals which appear on frescoes and seals are largely wild or supernatural, or in non-domestic scenes (particularly bull-leaping). This article seeks to explore the quantitative differences between the types of animals displayed on different media, and ask why non-domestic animals appear in such significant proportions. Arthur Evans and subsequent scholars have explained this phenomenon as an expression of interest in the natural world. Instead of this modernist view, it will be argued here that it is by trying to approach these depictions as expressing specifically Bronze Age human-animal relations that the role of such animals in Cretan society can be understood. From a relational perspective, the animals depicted can be seen as active participants in prestige activities such as hunting or bull-leaping rather than the passive motifs of artistic naturalists. This perspective might also provide a more illuminating answer to the question: why depict animals?
We analysed a faience fragment from Bristol Museum and Art Gallery, to determine whether it belonged to the Town Mosaic, excavated at Knossos. Three Town Mosaic fragments from the Ashmolean Museum, Oxford were also examined. The objects were analysed using nondestructive variable-pressure scanning electron microscopy with energy-dispersive X-ray spectrometry. The Bristol object's composition and microstructures are similar to those of the Town Mosaic samples. Our results are also comparable to those from polished samples of Minoan faience (Tite et al. 2009), showing that VP SEM-EDX gives reliable results without invasive sampling. Silicaceous, copper-rich microspheres were identified for the first time in two of the Ashmolean objects.
Bull-leaping has become one of the most emblematic activities of Minoan Crete and has recently received renewed attention with the BBC/British Museum radio series, A History of the World in 100 Objects. One of the featured objects, a Minoan bronze group of a bull and acrobat, was brought to life in a television advertisement using a modern bull and leaper. This act of translation is at the heart of the dialogue this paper seeks to address: the interaction between current human attitudes toward nonhuman animals and their depictions, and those of the Bronze Age. It suggests that the animal practices of the past were shaped by material and social circumstances far removed from those of modernity. The mutual affordances of bulls and humans have resulted in similar interactions, or bull games, in different societies, but modern archaeologists have tended to downplay the relationship between bull and leaper in Bronze Age Crete by regarding bull-leaping in purely symbolic terms. An archaeological account informed by Human-Animal Studies can instead bring to the foreground both the familiarity and distinctiveness of past human-animal relationships.
Amara West, built around 1300 BC, was an administrative centre for the pharaonic colony of Upper Nubia. In addition to producing hand-and wheel-made pottery, respectively in Nubian and Egyptian style, Amara West also imported a wide range of ceramics from Egypt and the eastern Mediterranean. A scientific of 18 Mycenaean style ceramics was undertaken to study provenance and aspects of production technology. Neutron activation analyses (NAA) results show that the pots were imported from several workshops in in Greece and Cyprus. Thin section petrography and scanning electron microscopy, used with energy dispersive spectroscopy (SEM-EDX), show that different recipes were used to make the fabrics and paints of Mycenaean ceramics, reflecting both technological choices and the range of raw materials used in the different workshops. The petrographic and SEM-EDX results support the NAA provenance attributions.
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