Mobilities in the Neopalatial Southern Aegean: The Case of Minoanisation

Nikolakopoulou, Irene; Knappett, Carl

doi:10.1017/9781316536063.008

Cited by 14 publications

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“…3; Cutler 2012; forthcoming). The first appearance of discoid loom weights at these sites varies markedly, from the start of the Middle Bronze Age to early in the Late Bronze Age, a degree of variation comparable to that for the adoption of different technological and stylistic characteristics of Cretan pottery in the wider southern Aegean (Nikolakopoulou and Knappett 2016; Abell and Hilditch 2016), suggesting that the processes of adoption and adaptation relevant to each craft were determined individually by each community (Cutler 2011; 2012; 2016). However, some differences in the presently documented chronologies of adoption of loom weights also reflect the degree of investigation of Middle Bronze Age strata at each site.…”

Section: The Appearance Of Discoid Loom Weights At Southern Aegean Sementioning

confidence: 99%

Arachne's Web: Women, Weaving and Networks of Knowledge in the Bronze Age Southern Aegean

Cutler¹

2019

Annu. Br. Sch. Athens

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The appearance of loom weights at a number of southern Aegean sites in the Middle and early Late Bronze Age is indicative of the adoption of a new weaving technology: the use of the warp-weighted loom. The specific type of loom weight (discoid) recovered is a Cretan form, and this evidence of Cretan influence is also seen in a wider range of material culture features at these settlements during this period. Weaving is a complex skill and learning requires contact between novice and expert practitioner over an extended period of time; the introduction of a new weaving technology therefore raises the question of how the necessary technical knowledge and know-how was transferred from one individual or community to another. The archaeological indicators of this new technological practice, the loom weights themselves, are objects that very rarely travel, except with their owners; the presence of loom weights manufactured from non-local ceramic fabrics at some of the southern Aegean sites can therefore provide a window into the patterns of mobility through which the new technology is likely to have spread. Both in the Bronze Age and subsequent Archaic and Classical periods, weaving was closely associated with women. Loom weights thus constitute archaeological markers for the craftswomen who used them. This paper explores the insight they can offer into female networks of teaching, learning and craft practice in the second millennium bc.

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Section: The Appearance Of Discoid Loom Weights At Southern Aegean Sementioning

confidence: 99%

Arachne's Web: Women, Weaving and Networks of Knowledge in the Bronze Age Southern Aegean

Cutler¹

2019

Annu. Br. Sch. Athens

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Aegean Bronze Age Art

Knappett

2020

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When we think of 'ancient art', it is probably the architecture, sculpture and paintings of Greece, Rome and Egypt that come to mind. These are archetypes that form our vision of ancient art. 1 That they occur in literate cultures in which art and text go hand-in-hand is hardly a coincidence. As suggested in a recent Companion to Greek Art, Classical archaeologists 'would rarely, if ever, speak of the Athena Parthenos, a gold and ivory cult statue designed by the sculptor Pheidias, without referencing Pliny or Pausanias'. 2 Herein we find another clue to the apparent accessibility of the art of these cultures: that artists may also be named, in this case Pheidias. We might feel that this focus on what Smith and Plantzos call the 'triumvirate' of architecture, sculpture and painting is perfectly reasonable, if these art forms are prevalent, and their study produces rich results. The downside, however, is that it leaves 'much of the rest relegated to the ill-defined catch-all phrase of "minor arts" '. 3 This bias towards 'major' over 'minor' arts becomes much more problematic when we try to explore other versions of ancient art: versions that may have little sculpture or painting to speak of, or that do not go hand-in-hand with texts. If we have in mind various kinds of prehistoric art, then of course by definition we will not have any kind of interaction between art and text to consider. If such art is then in a sense more isolated, lacking such interaction with other cultural outputs, does this make the treatment of prehistoric art

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2020

Aegean Bronze Age Art

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Mobilities in the Neopalatial Southern Aegean: The Case of Minoanisation

Cited by 14 publications

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Arachne's Web: Women, Weaving and Networks of Knowledge in the Bronze Age Southern Aegean

Arachne's Web: Women, Weaving and Networks of Knowledge in the Bronze Age Southern Aegean

Aegean Bronze Age Art

Chronological Table

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