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Chapter 32 - General Remarks

Aegean Art During the Cretan Second Palace Period

from Part V - Aegean Art in the Cretan Second Palace Period

Published online by Cambridge University Press:  19 May 2022

Jean-Claude Poursat
Translated by
Carl Knappett
Jean-Claude Poursat
Affiliation:
University of Clermont-Ferrand
Carl Knappett
Affiliation:
University of Toronto
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Summary

Minoan Neopalatial art results in large part from the demands of the elites – those in power, leaders, or officials. The main artworks come from their residences – palaces and villas, the latter taking inspiration from the principles of ‘palatial’ architecture – and from the sanctuaries that are largely controlled by these same elites. Frescoes, ivory or faience statuettes, and relief-decorated stone vases illustrate the ceremonies around which social life took shape.

Was this religious art? Artworks are fundamental to what we know of Minoan religion, albeit only offering testimony that is indirect and implicit. If the theme of ‘epiphany’ is often broached, the divinity herself is rarely represented in an unequivocal manner: one of the few exceptions is the Saffron-Gatherers fresco from Akrotiri, with its enthroned goddess flanked by a griffin.

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The Art and Archaeology of the Aegean Bronze Age
A History
 , pp. 321 - 326
Publisher: Cambridge University Press
Print publication year: 2022

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References

Further Reading

Groenewegen-Frankfort, 1951: Groenewegen-Frankfort, H., Arrest and Movement: An Essay on Space and Time in the Representational Art of the Ancient Near East, London.Google Scholar
Vermeule, 1975: Vermeule, E., The Art of the Shaft Graves of Mycenae, Cincinnati, OH.Google Scholar

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