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Egyptian daily life, Curatorial Thesis pt 2

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Egyptian daily life, Curatorial Thesis pt 2

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In the Egyptian New Kingdom, daily life is rich with agriculture and religion. Farming crops that had been nourished by the Nile, worshipping Gods with offerings, games, and music. These people had strong family ties, even depicting Gods having families. Everyday mundane life in Egypt is good.

write a bit more about the Egyptians and how their daily life is shown in art

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Minoan life is centered on the Island of Crete. Agriculture field their economy, and mostly produced olives. They had a large trade network, their artists loved creating works inspired by nature, and the people lived in large homes that even had running water. It’s a vibrant society with vibrant art. Vases, frescoes, and figurines make up the majority of their artworks. There is a large focus on women in these artworks, and they were often associated with powerful deities

(write a bit more if word count is too low)

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For the Mycenaeans, there is a strict social hierarchy with a king, military, artisans, workers, and slaves. Each status defined the role one would have in their society. The higher up someone was on the ladder, the more elaborately they’d live and die. The houses and tombs of the rich were very decorated. Their art was mostly focused on the religious and the rituals. Like ceremonies and battles and hunting. There is not much work that shows the people’s daily lives. The Mycenaeans valued war and conquest. and this shows in the artwork salvaged from this period.

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Granary relief, Egypt, Middle Kingdom, 2055-1985 BCE, limestone - Albany Institute of History and Art

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Grain played a major role in Egypt. The Nile would flood and make the plains suitable for growing crops. Mainly grains like wheat and barely. This made grain the primary food source, and a big part of the economy. Egyptians would trade, and be taxed with grain. Surplus grain would be stored in silos for in times of hardships like famines and droughts. This relief shows a man carrying a bag of grain up to a silo to be stored. Archeologists believe this relief comes from the temple Mentuhotep II at Deir el Bahri

https://www.albanyinstitute.org/collection/details/relief-carving-of-a-granary

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One of two gold Mycenaean cups from the Vapheio tholos tomb, Lakonia, 1650-1500 BCE. The cups show relief scenes of capturing bulls. (National Archaeological Museum, Athens)

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This is one of a pair of beautifully decorated gold cups from a kingly tomb (probably belonging to Pharis). They are significant examples of ancient metalwork, showcasing the artistic and technical skills of the craftsmen from the region of Greece during this period. The cups reflect both aesthetic beauty and cultural narratives, linking them to the broader tradition of metalworking that includes jewelry, armor, and various vessels. Much like the Mask of Agamemnon, they are made of pounded sheets of gold, and reshaped into a vessel after being decorated. The cups depict bulls being captured or hunted, and possibly reflect men's power over the aggressive bull. The bulls were revealed and respected in the Mycenaen culture.

https://www.worldhistory.org/Mycenaean_Art/

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This slightly over-lifesize head represents Ahmose I wearing the white crown, a symbol of upper Egypt. The face is broad and relatively flat, with a taut, smiling mouth. These features seem to be influenced by representations of Mentuhotep II (Ahmose's predecessor) whose statues still would have been prominent at Thebes in Ahmose's time. The large, slanting, prominent eyes, however, convey an intensity that seems to herald the energetic Thutmoside style of Dynasty 18. We can see that naturalism and individualism were not high on the list of priorities of these ancient Egyptians, and instead relied on special clothing to show the rank or importance of a person. Of course, I'm sure that not everyone could afford a bust of themselves anyway, but the headpiece allows the viewer to instantly recognize this man as one of the long line of pharaohs. They may not have been very concerned with individualistic features since all of the pharaohs were simply another vessel for the same gods to inhabit over and over again.

https://www.metmuseum.org/art/collection/search/547950

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Egyptian 18th Dynasty - Two Musicians from the Tomb of Rekhmire New Kingdom, circa 1550 BC–1292 BC

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This piece of work shows a scene from a funeral where two musicians are playing a harp and a mandora. The tomb this piece was found in is very decorated with vivid scenes from the daily lives of the Egyptian people. Music was a big part of everyday life in Egypt. In rituals, in their military, the Egyptians believed that music was a way to commune with the Gods, and also believed that the Gods had invented music.

Today, this tomb is considered a historical landmark, located in Thebes along the Nile river

https://www.mediastorehouse.com/fine-art-finder/artists/isaac-luttichuys/musicians-tomb-rekhmire-23223234.html

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from shaft grave V, grave circle A, c. 1550–1500 B.C.E. (Mycenae), gold, 35 cm high (National Archaeological Museum, Athens)

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The mask is made of hammered gold. It shows a man's face with his eyes closed, seemingly at piece. The sides of the face are forward facing, so the ears are sticking straight out on each side, with the beard similarly flattened. The nose is very straight and pointed and the lips are thin. The beard and eyebrows are raised from the skin and have small indentations used to indicate hairs. The eyebrows are orderly while the beard hair is more shallowly carved and randomly placed.

Although not much of the top of the head is shown, it's implied that there is a crown or headpiece.

https://smarthistory.org/mask-of-agamemnon/

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Mycenaean imitation of Minoan Marine ware, 15th century B.C.E. Tomb 2, Argive Prosymna, about 1400 B.C.

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The Minoans created the marine-style first, probably because they had so much experience being on the sea due to their trade networks, or in conjunction with an important food source. Many other countries imitated the style, but none were as skilled at it as the Minoans. The Mycenaean's were a much more war-like, masculine culture and much of their artwork relates as much. However, their desire to copy the Minoans and create similar artwork shows that they had some respect for the agriculturally minded Minoans, and they recognized the value of their artwork. Theirs was not a completely nationalist society, and they did not mind adapting their society to include beautiful things from outside of their own realm. However, the artwork above is much more symmetrical, stiff, and generally less wild than it's Minoan counterpart. They still had styles and traditions that they held to whilst also trying out new ideas and trends from neighboring societies.

https://quatr.us/greeks/minoan-mycenaean-pottery.htm

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https://www.metmuseum.org/art/collection/search/547684

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Larnax (terracotta funerary chest) with a hunting scene (deer, capricorn), Early Minoan period, Rethymno

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check the word count here

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https://www.metmuseum.org/art/collection/search/252410

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Nebamun Receiving Wine. Nina de Garis Davies, 1916. Original New Kingdom, Dynasty 18, reign of Amenhotep III–Akhenaten (ca. 1390–1349 B.C.), after original from Thebes, el-Khokha, Tomb of Nebamun and Ipuky (TT181). Tempera on paper. H. 92 cm (36 1/4 in.); W. 64.5 cm (25 3/8 in.). Rogers Fund, 1930 (30.4.106)

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Banquets happened during funerals or at celebratory occasions, such as the Beautiful Festival of the Valley. Guests at banquets are usually depicted with fine clothing and elaborate jewelry, and in a state of eternal youth.

The facsimile here shows the right part of one large banquet scene (for the left part see 30.4.105). On the right, the largest figure depicts the deceased, the sculptor Nebamun, with his immediate family members, while other attendees are featured in smaller sizes to the left. Standing before him is a female figure—Henutnefret, his wife or sister—who hands him a bowl of wine with the words "Drink and make a happy day!" Attendees often consumed an excessive amount of alcohol during these celebrations, notably in rites of drunkenness performed during certain religious festivals.

This painting uses a hierarchal scale to show who is the most important person of the painting. Composite pose also plays a large part of the drawing styles of the time, using hieroglyphs to give context and tell a story.

https://app.smartify.org/en-GB/objects/nebamun-receiving-wine

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Bull-leaping fresco from the east wing of the palace of Knossos (reconstructed), c. 1400 B.C.E., fresco, 78 cm high (Archaeological Museum of Heraklion)

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The focal point is a man on top of a bull. There is a woman to either side, which seem to be cheering for the man. Thick lines border the piece, framing it in. Ovals in alternating white, blue, black, yellow, red are layered on top of each other, forming large scallops. Thinner lines of white, yellow, and red separate this from the figures.

The fresco is very colorful, mostly blues and yellows. The man is dark red and the women are white. The bull is a white with yellowish brown spots invading around the edges. Fine lines of black outline each figure and provide details of hair, boots, and facial features. Each human wears a loincloth, and both women have bracelets.

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This bronze sculpture appears to be a woman with one hand placed on her forehead and the other hand at her side. This hand is fused to the skirt, possibly for stability. She has no distinguishable facial features, but this may be because the piece is rusted. The hair seems to be pulled back into a bun at the top, then allowed to run down her back.

Proportionally, her skirt is about the same length as her hand, and her head is just a little larger than her upper arm. The feet are not far from the bottom of the skirt and are fused together, most likely to keep the piece stable.

She appears to have a belt around the waist made of two separate ropes. The figure's skirt is bell-shaped.

https://www.metmuseum.org/art/collection/search/251557

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from the palace at Knossos, c. 1600 B.C.E., faience, 29.5 cm high (Archaeological Museum of Heraklion, photo: Zde, CC BY-SA 4.0)

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The skirt of the sculpture features different colors, with darker ones at the bottom and lighter colors at the top. She has an apron swooping down in the center and shorter at the sides. It has a pattern of diamonds at the bottom. Her shirt also has a pattern made of triangles on the stomach and sleeves. The blouse is open in the front, showing her breasts. She wears a hat with flowers along the side.

The figure is folding two snakes, one in each hand, and has a cat crouched on her hat. Her face does not express much emotion, but she does seem to be young.

https://smarthistory.org/snake-goddess/

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Luxor Temple, 1390-1213 BCE, the city of Thebes

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The temple was built by Amenhotep III (1390-52 BC) but completed by Tutankhamun (1336-27 BC) and Horemheb (1323-1295 BC) and then added to by Rameses II (1279-13 BC). The temple has been in almost continuous use as a place of worship right up to the present day.

Consists of multiple courts, many pillars, an avenue of sphinx guardian statues, one of the original two pylon at the front gate, and obelisks. Luxor temple is dedicated to the rejuvenation of kingship; it may have been where many of the pharaohs of Egypt were crowned in reality or conceptually. We can deduce that this was a very special place for the kings and pharaohs of Egypt, and I wonder if the location of the temple had anything to do with the reason they were crowned there.

https://discoveringegypt.com/luxor-temple/

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from Hagia Triada, c. 1550-1500 B.C.E., black steatite, diameter 4.5 inches (Archaeological Museum of Heraklion)

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https://smarthistory.org/harvester-vase/

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Terracotta women, 1400-1300 B.C., found at graves and shrines, 4.25 inches, (The Met Museum)

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Found in large quantities at Mycenaen grave sites, religious shrines, and various sanctuaries, these mass-produced and heavily abstracted women figures have been theorized to be small idols for a female goddess cult, or perhaps represent the worshipers. The women are recognizable by the presence of breasts, decorated shawls, and pony-tail style hair. The faces are pinched with small slits for eyes, and the women are called psi, tau, and phi women because their shapes can be compared to these letters of the greek alphabet.

https://www.metmuseum.org/art/collection/search/698244

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Reproduction, Emile Gilliéron Swissca. 1525–1450 BCE

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This is a reproduction of a fresco from the palace of Knossos on the island of Crete. The original work was partially destroyed, but a few fragments remained and were found by Sir Arthur John Evans, and then the fresco was recreated by Emile Gillieron, a swiss artist and archaeologist. His reproductions have debate surrounding them regarding the validity of his work because of how little of the original pieces were left. The piece now has bright colors and shows three women with elaborate hairstyles and dresses, most likely three high-class women gossiping amongst themselves.

https://www.metmuseum.org/art/collection/search/258137

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New Kingdom, 18th Dynasty, Amarna Period, reign of Akhenaten, ca. 1353-1336 BC. Now in the Egyptian Museum, Berlin. ÄM 14145

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Featured in this house altar is King Akhenaten with his wife, Nefertiti, and three of their five daughters. The sun in the top center is a symbol of Aten, the god during this period of Egyptian history. It's rays end in hands, representing the extension of life-giving power.

The three daughters each have an elongated head representing the blessing of power from Aten. They and their parents have outstretched arms towards Aten in the style of ankh.

This house altar features hierarchy of scale, with the king and queen being the prominent and most detailed figures. Their clothing has lines shallowly carved in to provide shape to the garments.

https://egypt-museum.com/house-altar-of-akhenaten-and-his-family/

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Mural composition from the Palace of Thebes (14th-13th c. B.C.) at the Archaeological Museum of Thebes

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Mural composition from the Palace of Thebes

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Mural composition from the Palace of Thebes

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This scene depicts a religious ritual, where female worshippers would have a procession toward a shrine, temple, altar, or other religious building. They hold offerings such as lilies, roses, jewelry, and a vase. All but one are moving the same direction, as if the right-most figure is the deity the other women are heading towards, but this is debatable as Myceneans did not represent their gods as humans, so it is more likely that the right-most figure is a religious leader like a preistess. Religious rituals included sacrifices, feasts, and burials. Processions often came before these kinds of religious rituals.

https://www.mthv.gr/en/permanent-exhibition/mycenaean-period/#image-9

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New Kingdom, Amarna Periodca. 1353–1336 B.C.

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Each figure here is a male figure, with various interpretations. Some think this represents a grandfather, a father, and a son. Others might say that the piece is about the three stages of life. Which are Youth, Adulthood, and Age.However, the three-stages of life idea is most likely not what the piece represents.

Another thought is that the left-most figure is an individual with a higher status, and someone that the man and the boy are related to, or even respected by. The Metropolitan Museum of Art says “The statuette would have received veneration in the household of its owner”

https://www.metmuseum.org/art/collection/search/544683

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Tempera on paper, New Kingdom, ca. 1295–1213 B.C. Metropolitan Museum of Art, 1922. Brought to New York and accessioned, 1930

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Sennedjem and Iineferti in the Fields of Iaru

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Sennedjem and Iineferti in the Fields of Iaru

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This is a tempera painting of the artisan Sennedjem and his wife Iineferti harvesting grain in the Fields of Iaru.This was found in Sennedjem’s tomb, and it illustrates spell 110 from the Book of the Dead, which was the idea that those who had done good works, “ploughing therein, reaping and eating therein, drinking therein, copulating therein, and doing everything that was once done on earth by the reader” would go to a paradise of a field of reeds.

This piece is on display at the Metropolitan Museum of Art in New York City in it's New Kingdom Egyptian section.

https://www.metmuseum.org/art/collection/search/548354

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The Minoan 'Cup Bearer' from the 'Procession Fresco', wall art from the South Prpylaeum, Knossos Palace, 1500-1400 BC . Heraklion Archaeological Museum

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Mycenaean, 1375–1300 B.C.E., 32 cm in diameter (The British Museum)

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This krater is tan with red detailing. There is a thick band of red at the top and bottom, with a smaller one above the bottom band. The middle and three quarters of the way down has three more bands each. The main painting is between the top stripe and the middle ones.

The main painting features two chariots each being pulled by two horses. There is some kind of plant growing in between the chariots. One chariot has one figure, while the main chariot has two. They both have a cloak with dots. Around the chariots, abstract shapes with lines inside float in the air.

https://smarthistory.org/intro-mycenaean-art/

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Minoan, 1500-1400 BC, Heraklion Museum, Greece

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A gold ring found by a boy near the tomb of Knossos in a field. It is the largest signet ring found in Crete. It’s believed that this belongs to a high-class ruler who had some religious or secular authority. It features figures with tree branches, where the female to the left is pulling one down from a brick wall, and the other seems to be offering a deity, fruit from a branch he’s pulled down. The deity seems to be floating in the air, and another representation of a deity sailing the sea can be seen in the lower part with the stepped altar and sacred horns

https://heraklionmuseum.gr/exhibit/to-daktylidi-tou-minoa

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It is the largest and most elaborate tholos tomb known to have been constructed in the Aegean Bronze Age. The main tomb consisted of a circular burial chamber, or thalamos, topped with a corbelled dome. The tomb was the highest corbelled dome in the world until the Roman period and presents a megalithic structure that was becoming more and more common. The entrance stands surmounted by a relieving triangle decorated with relief plaques, and the tomb itself is 13.5 meters tall by 14.5 meters wide. A small side chamber hewn out of rock contained the burials, whereas the main chamber was probably reserved for ritual use.

https://www.world-archaeology.com/features/treasury-of-atreus-at-mycenae/

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Cretan Gazi Ceramic “Poppy Goddess”, ca. 1400-1100 BCE

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This piece is a figure representing a Poppy Goddess. Poppy Goddesses are a type of terracotta artwork that are believed to represent Goddesses. These figures always have raised hands and ornaments on their heads. Some have birds or horns, but this one has poppies.

Arms raised like this with palms opened is called the epiphany gesture, almost like they’re reaching up, or greeting someone, or granting a blessing.

Each figure also had a round, “skirt”, shaped by a potter’s wheel, and some also have feet poking out of their skirts. There is also a hole in each of these figures, either on the head or the ears, but whether it had religious meaning or was for practical use (so that it wouldn’t break when being shaped) could vary from statue to statue.

https://en.wikipedia.org/wiki/Poppy_goddess

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An exhibition on the conserving of ancient or old relics. It educates the readers on the techniques and the reasons behind cultural and archeological conservation

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The Conserving Antiquity exhibition focuses on the essential but often hidden work of preserving art and artifacts. We invite you to step behind the scenes and experience the fascinating work of conservators, which blends scientific research and hands-on treatment with the study of art, archaeology, and history. See intriguing objects - like an ancient Egyptian mummy mask and a Roman soldier's leather armor - and learn about their conservation, as well as investigate mysterious artifacts. Explore archaeological conservation through three short films. Reflect on your own understanding and appreciation of cultural heritage, and what preservation means to you.

To explore this exhibition, click on the icons to the left.

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The Conserving Antiquity exhibition focuses on the essential but often hidden work of preserving art and artifacts. We invite you to step behind the scenes and experience the fascinating work of conservators, which blends scientific research and hands-on treatment with the study of art, archaeology, and history. See intriguing objects — like an ancient Egyptian mummy mask and a Roman soldier’s leather armor — and learn about their conservation, as well as investigate mysterious artifacts. Explore archaeological conservation through three short films. Reflect on your own understanding and appreciation of cultural heritage, and what preservation means to you.

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Search the Metropolitan Museum's Collection Online.

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Egyptian works at the Albany Institute of History and Art

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Egyptian works at the Albany Institute of History and Art

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Fine Art Finder Photo Prints and Wall Art

Two Musicians, from the Tomb of Rekhmire, New Kingdom (wall painting)

XIR203233 Two Musicians, from the Tomb of Rekhmire, New Kingdom (wall painting) by Egyptian 18th Dynasty (c.1567-1320 BC); Valley of the Nobles, Thebes, Egypt; (add.info.: vizier to Tuthmosis III and Amenhotep II; The tomb is located in Sheikh Abd el-Qurna, part of the Theban Necropolis on the west bank of the Nile, opposite Luxor; ); Egyptian, out of copyright. © Bridgeman Images

Media ID 23223234

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This print showcases a stunning wall painting titled "Two Musicians, from the Tomb of Rekhmire" dating back to the New Kingdom period in ancient Egypt. Created by artists of the Egyptian 18th Dynasty around 1567-1320 BC, this artwork is an exquisite example of funerary scenes found in the Valley of the Nobles, Thebes. The composition depicts two female musicians gracefully kneeling and playing musical instruments amidst a backdrop adorned with intricate hieroglyphics. One musician skillfully plucks at her harp strings while the other delicately strums her mandora, creating harmonious melodies that resonate through time. The attention to detail in this painting is remarkable; every brushstroke brings life to these ancient musicians as they immerse themselves in their art. Their serene expressions and elegant postures reflect their dedication and passion for music, serving as a poignant reminder of its significance in Egyptian culture. Preserved for centuries within Sheikh Abd el-Qurna, part of the Theban Necropolis on the west bank of the Nile opposite Luxor, this tomb painting offers us a glimpse into a rich artistic heritage that has captivated generations. As we admire this masterpiece today, we are transported back to an era where music was not only entertainment but also held profound spiritual meaning. Through Bridgeman Images' impeccable reproduction work, we can now appreciate and celebrate these talented musicians who left their mark on history through their timeless artistry.

Add a touch of ancient elegance to your home decor with our Framed Prints from Media Storehouse. This exquisite piece features Two Musicians, an enchanting wall painting from the Tomb of Rekhmire in Thebes, Egypt. Dating back to the New Kingdom (1567-1320 BC), this captivating artwork showcases the refined artistry of the 18th Dynasty. Bring the rich history and timeless beauty of Egypt into your living space, with our high-quality, museum-grade framed print. A perfect addition to any room, this print is sure to inspire awe and admiration for generations to come.

Bring the timeless beauty of ancient Egypt into your home with our exquisite Media Storehouse Photographic Print of Two Musicians from the Tomb of Rekhmire. This stunning wall painting, hailing from the New Kingdom (c.1567-1320 BC) in Thebes, showcases two musicians in a serene and captivating scene. Captured by Bridgeman Images from Fine Art Finder, this high-quality print transports you back to the 18th Dynasty, allowing you to appreciate the intricate details and vibrant colors of this masterpiece. Elevate your decor with a touch of history and culture.

Bring the ancient beauty of Egyptian art into your home with our Media Storehouse range of poster prints. This captivating image, "Two Musicians" from the Tomb of Rekhmire, showcases the exquisite detail and vibrant colors of New Kingdom (1567-1320 BC) wall paintings. Transport yourself back to the Valley of the Nobles in Thebes, where this masterpiece was discovered. Add a touch of history and culture to your living space with our high-quality, museum-grade poster prints. Experience the timeless allure of Egyptian art, now available in your home.

Step back in time with our exquisite Two Musicians jigsaw puzzle from the Media Storehouse collection. Featuring an enchanting image from the Tomb of Rekhmire in Thebes, Egypt, this puzzle brings to life the beauty and rich history of the New Kingdom (1567-1320 BC). Bridgeman Images and Fine Art Finder have captured the essence of this ancient wall painting, allowing you to immerse yourself in the intricate details of this magnificent work of art. Challenge yourself with this captivating puzzle and bring the music and magic of ancient Egypt into your home.

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Prints of Two Musicians, from the Tomb of Rekhmire, New Kingdom (wall painting)

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XIR203233 Two Musicians, from the Tomb of Rekhmire, New Kingdom (wall painting) by Egyptian 18th Dynasty (c.1567-1320 BC); Valley of the Nobles, Thebes, Egypt; (add.info.: vizier to Tuthmosis III and Amenhotep II; The tomb is located in Sheikh Abd el-Qurna).

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New Kingdom, 18th Dynasty, Amarna Period, reign of Akhenaten, ca. 1353-1336 BC. Now in the Egyptian Museum, Berlin. ÄM 14145

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The Archaeological Museum of Thebes is closed: every Tuesday, the 25th and the 26th of December, the 1st of January, the 25th of March, Easter Day, 1st of May.

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Cylinder seal and modern impression: Master of Animals between lions, griffins, Minoan genius

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Cylinder seal and modern impression: Master of Animals between lions, griffins, Minoan genius

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This stone carved stone cylinder is a seal meant to be rolled into soft clay to show ownership or aid in identification and record transactions. The modern impression shows a central hero figure confronting many real and mythical animals

https://www.metmuseum.org/art/collection/search/327819

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Smarthistory – Mycenaean art, an introduction

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Mycenaean culture dominated southern Greece, but is perhaps best known for the site of Mycenae itself.

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Mycenae, c. 1300-1250 B.C.E., limestone, relief panel, 9′ 6″ high

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https://smarthistory.org/lion-gate-mycenae/

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The Bronze Age culture of Crete, called Minoan, after King Minos of Crete from Greek mythology, is one of the most vibrant and admired in all of European prehistory.

The island itself is no doubt part of the story; at the watery intersection of Asia, Europe, and Africa, including snow covered mountain tops, lush agricultural plains, sandy beaches and dramatic gorges, Crete is exceptional for its natural richness and variety.

The Bronze Age history of the island is one of development, increasing influence, and eventual destruction of a culture centered around sites that have traditionally been called palaces (the most famous and largest one of which was Knossos). Therefore, the historical periods of Bronze Age Crete are called the Pre-palatial, Old Palace (or Protopalatial), New Palace (or Neopalatial) and Post-palatial. Within these historical periods there are more specific designations, largely deriving from pottery studies, which use the terms Early, Middle, and Late Minoan. These then divided again into I, II and III and then into A, B and C.

Pre-palatial period: Early Minoan I - Middle Minoan IA (begins c. 3000 B.C.E.)

Old Palace or Protopalatial period: Middle Minoan IB - Middle Minoan IIB (begins c. 1900 B.C.E.)

New Palace or Neopalatial period: Middle Minoan IIIA - Late Minoan IB (begins after 1730 B.C.E.)

Post-palatial period: Late Minoan II-IIIC (begins after 1450 B.C.E.)

Pre-palatial period

The early Bronze Age history of Crete, the pre-palatial era, began around 3000 B.C.E. This period is marked by large towns, evidence of foreign contacts through trade, as well as very elaborate burial practices: large above-ground multi-use tombs which seems to indicate the existence of elite families. During this period, the skill of Minoan goldsmiths and potters becomes well established, producing finely detailed jewelry and beautiful pottery.

Old Palace or Protopalatial period

By around 1900 B.C.E., at the beginning of the Old Palace or Protopalatial period, the Minoan palaces were established, first at Knossos followed by Phaistos, Mallia, and Chania. Archaeologists have also discovered other smaller palaces at Petras, Galatas, and Monastiraki, although presently these sites are less well excavated and understood. These early palaces are extraordinary not only for the complexity of their construction but their striking similarity to one another, certainly a sign of a central administration of some kind. Built with large cut limestone ashlar blocks, Minoan palaces of the Old Palace period include a large open central court oriented north-south, storage spaces in the west of the structure, and a complex of decorated domestic rooms to the east which often feature elite details such as wall painting and indoor plumbing.

Minoan pottery of this period, Kamares ware, much of it produced in palace workshops, was widely traded and has been found in Kahun and Harageh in Egypt, Ras Shamra in Syria, and several sites on the island Cyprus.

New Palace or Neopalatial period

The Old Palace or Protopalatial period of Minoan history ends in a dramatic event, an earthquake, around 1730 B.C.E., which was so severe that the palaces had to be rebuilt, which they were, in an even more grand manner (and a new palace is built at Zakros). This era is referred to as the New Palace or Neopalatial period. Lots of big settlement sites thrive during this era as well, such as Palaikastro, Gournia and Kommos, with close connections to nearby palaces. It is from this period that written documents survive. Clay tablets (marked in a script called Linear A) were used to keep administrative records at the palaces, recorded in a language which has yet to be fully deciphered. Pottery changes at this time as well, to feature marine animals, which perhaps reflects the sea power (thalassocracy) of the Minoans.

Dating to this period are some of the most remarkable figural frescos of the Aegean Bronze Age, including those from Santorini, an island, very much under Minoan influence. During this era, the Minoans were players in the international politics of the Eastern Mediterranean as recorded in Egyptian tomb paintings of the 18 th Dynasty in Thebes, which show Minoans bearing gifts for the Pharaoh.

The New Palace or Neopalatial era flourishes for two centuries. Then, beginning around 1500 B.C.E., Crete saw increasing influence from the Mycenaean culture of mainland Greece. Around 1450 B.C.E., over a period of approximately 50 years, nearly all sites on the island are burned and/or abandoned, including all of the palaces. This dramatic end to such a prominent and dynamic culture is remarkable and still essentially mysterious; was it natural disaster, social upheaval, extended draught, or some combination?

The era following this turmoil on Crete is called the Post-palatial period, which has a distinctively Mycenaean flavor. Knossos and Chania are the only palace sites which are rebuilt although with new Mycenaean architectural forms; this is the period to which the famous throne room at Knossos dates, which looks a lot like the throne rooms at Mycenae, Pylos, and Tiryns on Mainland Greece.

Most importantly in post-palatial Crete, a new script and language is used for administration, Linear B, which records an early form of the Classical Greek language, the same language and script which was used at Mycenaean sites on the mainland of Greece. What the texts describe is a theocratic society with a king ( Wanax) and several high officials, priests, and priestesses who oversee religious ceremonies as well as the production of a massive and complex textile industry. This work employed over 700 shepherds harvesting between 50-75 tons of raw wool, woven by nearly 1,000 workers, men, women, and children, who produced some 20,000 individual textile pieces. New to Crete during this period is a warrior grave tradition. We find chamber tombs and shaft graves that include bronze vessels, swords, and daggers with the deceased interred on biers or in wooden coffins.

This Mycenaean-influenced period of Crete comes to an end over a period of perhaps 100 years, during which sites are either burned or abandoned. By 1200 B.C.E., the island appears to be radically depopulated with only a very few small and simple settlements high in the mountains with no evidence of writing or even the use of the potter's wheel.

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The Bronze Age culture of Crete, called Minoan, is one of the most vibrant and admired in all of European prehistory.

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Καλωσήρθατε στην επίσημη ιστοσελίδα του Αρχαιολογικού Μουσείου Ηρακλείου Το Αρχαιολογικό Μουσείο Ηρακλείου είναι από τα πιο μεγάλα και αξιόλογα μουσεία στην Ελλάδα και ένα από τα σημαντικότερα στην Ευρώπη. Τα εκθέματά του περιλαμβάνουν αντιπροσωπευτικά δείγματα από όλες τις περιόδους της κρητικής π

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Soldiers on front of Warrior Krater (detail), c. 1200–1100 B.C.E., ceramic, 42 cm high (National Archaeological Museum, Athens; photo: Steven Zucker, CC BY-NC-SA 2.0)

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This krater features a row of soldiers marching, each carrying a spear and a shield. The pot is painted with at least three colors, being dark brown, yellow, and white. The rim of the krater is dark brown, with stripes of light brown, red, dark brown, natural clay, and red.

The soldiers face straight to the right with almost no expression. All body parts are also placed facing right except for the eyes, which face toward the viewer. Their clothes are mostly dark brown in color, but some spots are left bare to form little dots in the skirt and helmet.

Smarthistory – Warrior Krater

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Delves into the discoveries and new knowledges uncovered by different voyages throughout history, whether they be physical, mental exploration, or creative thought. The exhibition spans five centuries and includes antique books, manuscripts, art, and artifacts.

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Voyages: A Smithsonian Libraries Exhibition

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This exhibition is an opportunity to share important books in the Smithsonian Libraries, to travel through lesser-known Smithsonian collections, and to learn how Smithsonian staff use these materials in their everyday work.

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Abu Simbel, a set of temples built by Ramses the Great, 1264-1244 BCE, 

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The Great Temple stands 98 feet high and 115 feet long with four seated statues flanking the entrance, two to each side, depicting Ramesses II on his throne; each one 65 feet tall. Beneath these giant figures are smaller statues depicting Ramesses' conquered enemies, the Nubians, Libyans, and Hittites. Other statues represent his family members and various protecting gods and symbols of power. Passing between the statues at the central entrance, the interior of the temple is decorated with engravings showing Ramesses and Nefertari paying homage to the gods. There are a lot of respect shown to the Gods at these temples, and including the Pharaoh and his wife with those gods attest to the tradition that they were gods themselves. The conquered enemies having representations within the temple might mean that Egypt thought of them as family that the gods would now protect after their defeat at the hands of the Egyptians, or perhaps they only make an appearance to showcase the strength and power of the Egyptians.

https://www.worldhistory.org/Abu_Simbel/