Taureador Scenes in Tell el-Dab'a (Avaris) and Knossos

Bietak, Manfred; Маринатос, Нанно; Palivou, Clairy; Brysbaert, Ann

doi:10.1553/0x0017f047

Cited by 49 publications

(9 citation statements)

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“…Closest in shape to the arrangement of palm leaves and fruits in the Throne Room are the palm crowns above red trunks in the LC I (LM IA) wall painting from the ‘Porter's Lodge’ in Akrotiri, which show two groups of blue palm branches separated from each other at the height of an upward-growing cluster of yellow and red dates (Vlachopoulos 2007, 136 and pls 15:2 and 15:5). Similar (though apparently no clusters of fruits are preserved) are the date-palms in the Minoan or ‘Minoanising’ taureador scenes from palace F at Tell el-Dab‘a, now dated by the excavators to around 1500–1450 bc (Bietak, Marinatos and Palyvou 2007, 89, figs F171, F172, F187, F188; Rüden 2011, pl. 42 d ).…”

Section: Archaeological and Stylistic Analysismentioning

confidence: 81%

“…11 N nws [Pylos]; Doumas 1999, 64–7, figs 30–4, 187, fig. 148 [Akrotiri]; Bietak, Marinatos and Palyvou 2007, 56–61, figs 59 A–B , 60 and 150, fig. 138 [Tell el-Dab‘a]; Rüden 2011, 74–6, pls 54, 66, 69 [Qatna]).…”

Section: Archaeological and Stylistic Analysismentioning

confidence: 99%

“…301; for Akrotiri: Vlachopoulos 2007; for Tell el-Dab‘a: e.g. Bietak, Marinatos and Palyvou 2007, 56–61, figs. 59 A–B , 60 and 150, fig.…”

mentioning

confidence: 99%

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The Power of Images: Re-Examining the Wall Paintings From the Throne Room at Knossos

Galanakis

Tsitsa²,

Günkel-Maschek

2017

Annu. Br. Sch. Athens

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The aim of this paper is to re-examine the painted fragments discovered by Arthur Evans and his team in the Throne Room at Knossos in 1900. We have tried to integrate systematically the extant archival data stored in the Ashmolean Museum in Oxford and the archaeological remains at Herakleion in an attempt to retrace the history of discovery of the paintings. In our view, the iconography of this programme places its execution at the onset of Late Minoan (LM) II. We see the inclusion of both ‘traditional’ (Neopalatial) and ‘innovative’ (Final Palatial) elements in the composition as suggestive of an attempt on behalf of the artist(s) and the commissioner(s) to blend artistic traditions in the creation of a new, yet still recognisable, image of power. We assess the implications stemming from this suggestion and interpret the decorative programme of the Throne Room at Knossos as part and expression of the emergence of the wanax ideology.

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Section: Archaeological and Stylistic Analysismentioning

confidence: 81%

Section: Archaeological and Stylistic Analysismentioning

confidence: 99%

See 1 more Smart Citation

The Power of Images: Re-Examining the Wall Paintings From the Throne Room at Knossos

Galanakis

Tsitsa²,

Günkel-Maschek

2017

Annu. Br. Sch. Athens

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“…Such Aegean griffins are known from the Tell el-Dab c a ‘Minoan’ frescoes. They are, like the tombs in question, also Thutmoside, according to Manfred Bietak's most recent dating of the Tell el-Dab c a (2007, 39). According to Felix Höflmayer there is no evidence for such a late dating of the palaces.…”

Section: Creativitymentioning

confidence: 99%

Memories into Images: Aegean and Aegean-like Objects in New Kingdom Egyptian Theban Tombs

Matić

2019

CAJ

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Diplomatic relations between the 18th-dynasty Egyptian court and the polities of the Aegean Bronze Age are gaining increasing scholarly attention. The work conducted so far on chronological synchronization has established a relatively firm base for further discussions on social relations. The role of the prestige objects arriving from the Aegean to Egypt has not received the same attention. This is partly because our knowledge of these objects is restricted to Egyptian visual representations in tombs of the officials and not the imported objects per se. This paper will discuss the transformative capacities of Egyptian decorum in regards to the foreign prestige objects of the Aegean provenance arriving in the Egyptian 18th-dynasty court. We first have to understand the iconographical phenomena of transference, hybridization and creativity in Egyptian visual culture, and only then may we attempt to read any historical reality behind them. These transformative representational processes are crucial for the understanding of the reception and the memory of the Aegean objects.

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“…2.12, pl. 10.2), and in the Late Minoan ΙΒ composition from Avaris with the bullfighting contest against the background of a maze pattern (probably rendering the pavement of a court: Bietak 2007), and on the Late Helladic I dagger from the Mycenae Shaft Grave V (Marinatos and Hirmer 1960, pls XXXV, top; XXXVIII, bottom).…”

Section: New Proposalmentioning

confidence: 99%

Truth Lies in the Details: Identifying an Apiary in the Miniature Wall Painting From Akrotiri, Thera

Papageorgiou

2016

Annu. Br. Sch. Athens

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One of a number of enigmatic depictions in the Aegean iconography of the second millennium bce is the structure painted on the south wall of the Miniature Frieze from the West House at Akrotiri, Thera. This structure covers the slope of a hill and consists of two vertical blue bands on its western edge and four horizontal blue bands, all with features indicating masonry construction. Five rows of black triangles alternate with the horizontal bands. Each triangle has a round opening in its base. Unique in Aegean iconography, it has been interpreted as a dovecote, a shipshed, a storage space, a rock-cut structure with triangular niches, a geological formation and even a stretch of land with terraces and a vineyard. In one very brief reference it has been identified with an apiary.In line with contemporary rules of perspective, certain details suggest this structure could represent an apiary on a terraced area, protected on its western edge by a wall to windward. The triangular elements must depict the vertical-type fixed-comb woven beehives, which were in use until quite recently in Greece. A road leading from the apiary and connecting the settlement with the tripartite building at the top of the hill completes the elements needed for organised beekeeping. Similarly, there is a trapezoidal expanse of blue to the east of it which probably depicts a pond, another essential element of beekeeping. Both the extent of the area covered by the installation and the prominence of beekeeping products (indicated by chemical analysis and references on Linear B tablets) raise questions about the management of the apiary and the function of the building at the top of the hill.

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Taureador Scenes in Tell el-Dab'a (Avaris) and Knossos

Cited by 49 publications

References 0 publications

The Power of Images: Re-Examining the Wall Paintings From the Throne Room at Knossos

The Power of Images: Re-Examining the Wall Paintings From the Throne Room at Knossos

Memories into Images: Aegean and Aegean-like Objects in New Kingdom Egyptian Theban Tombs

Truth Lies in the Details: Identifying an Apiary in the Miniature Wall Painting From Akrotiri, Thera

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