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Journal articles on the topic 'Minoan art'
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1
Herva, Vesa-Pekka. "Marvels of the system. Art, perception and engagement with the environment in Minoan Crete." Archaeological Dialogues 13, no. 2 (October 11, 2006): 221–40. http://dx.doi.org/10.1017/s1380203806002078.
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This paper discusses the relationship between art, perception and human engagement with the environment in Minoan Crete through the depiction of landscapes and the ‘natural world’ in art. It is argued that the conventional approaches to Minoan ‘nature scenes’, based on the representation and expression theories of art, are overshadowed by modernist assumptions about art and human–environment relations. The paper then proceeds to discuss the workings of visual perception and the dynamics of human–environment systems. On that basis, the nature of human–environment relations in Minoan Crete is reconsidered and an ‘ecological’ approach to ancient art explored. A tentative suggestion is made that Minoan nature scenes might be understood as instruments for perceiving and knowing the environment, and some broader implications of the ecological perspective for the interpretation of the archaeological record of Minoan Crete are indicated.
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Laios, Konstantinos, Gregory Tsoucalas, Marianna Karamanou, and George Androutsos. "Peyronie's Disease in Minoan Art." Journal of Sexual Medicine 10, no. 12 (December 2013): 3144–45. http://dx.doi.org/10.1111/jsm.12161.
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Masseti, Marco. "Representations of birds in Minoan art." International Journal of Osteoarchaeology 7, no. 4 (July 1997): 354–63. http://dx.doi.org/10.1002/(sici)1099-1212(199707/08)7:4<354::aid-oa387>3.0.co;2-r.
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Kosinkova-Stoeva, Angelina. "FASHION DESIGN ON THE BASE OF AN INVESTIGATION OF MINOAN COSTUME AND ART." Applied Researches in Technics, Technologies and Education 7, no. 4 (2019): 240–54. http://dx.doi.org/10.15547/artte.2019.04.002.
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The paper presents an investigation of forms, ornaments and colors in Minoan female costume and arts (Minoan, Mycenaean and Aegean artefacts) with a main purpose of their application in contemporary fashion design. The analysis of the studied artefacts shows that the basic silhouette and the shapes of element and pieces, ornaments and colors in Minoan, Mycenaean and Aegean female costume, presented in statuettes, frescoes and jewels, and the ornaments and colors of Minoan, Mycenaean and Aegean frescoes, ceramics, and jewellery can be applied in the design of modern ladies’ clothing, jewels and accessories. On the base of the results of the investigation designs of seven fashion ensembles of ladies’ dresses in combinations with suitable jewels and bags have been created.
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Trakoli, Anna. "Minoan Art, The ‘Saffron Gatherers’, c1650 BC." Occupational Medicine 71, no. 3 (April 1, 2021): 124–26. http://dx.doi.org/10.1093/occmed/kqab019.
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Shaw, Maria C., and Gisela Walberg. "Tradition and Innovation: Essays in Minoan Art." American Journal of Archaeology 92, no. 4 (October 1988): 604. http://dx.doi.org/10.2307/505264.
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Muhly, Polymnia, and Gisela Walberg. "Tradition and Innovation: Essays in Minoan Art." Classical World 83, no. 2 (1989): 138. http://dx.doi.org/10.2307/4350592.
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Revesz, Peter Z. "A Comparative Analysis of Motifs from Minoan and Hungarian Folk Art." MATEC Web of Conferences 210 (2018): 05020. http://dx.doi.org/10.1051/matecconf/201821005020.
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This paper presents a similarity measure for motives. The similarity measure is applied to several ceramic and metal artifacts that contain spiral motives. The similarity measure shows a particularly strong similarity between some Minoan and Hungarian ceramics.
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Szakolczai, Arpad. "In Pursuit of the `Good European' Identity." Theory, Culture & Society 24, no. 5 (September 2007): 47–76. http://dx.doi.org/10.1177/0263276407081282.
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This article argues that Nietzsche’s preoccupation with the figure of Dionysos can be best understood as a visionary insight concerning the distant roots of European culture in Minoan civilization. While the opportunity offered by the discovery of ancient Crete for continuing Nietzsche’s genealogical work into the sources of Greek culture was ignored by the vast archive of literature on Nietzsche, this project was pursued in a book by the mythologist Károly Kerényi, published posthumously. Using the classic work of Henrietta Groenewegen- Frankfort, this article identifies the ‘spirit’ of Minoan Crete with its attempt to manifest the gracefulness of life. The sudden emergence of Minoan Palace civilization, its peaceful character shown by the absence of fortified walls, and the importance of epiphany scenes in various works of art all indicate the centrality of religion for ancient Crete. The article offers the hypothesis that the origins of this culture can be traced to similar transcendental experiences such as those in ancient Judaism. The basic difference is that in the Cretan case epiphanies were connected to female figures, leading not to a prophetic tradition of divine grace through the revealed word and public law, rather the transmission of a secret tradition and the manifestation of its truth through spectacular public rituals and graceful works of art. While direct awareness of Minoan civilization was lost, its central concern survived in the value attributed to the manifestation of radiant, indestructible truth, a central characteristic of European identity, periodically revitalized in a series of renascences.
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Mosenkis, Yurii. "GREEK LANGUAGE IN MINOAN ART: A NEW METHOD OF LINGUISTIC INTERPRETATION." Text and Image: Essential Problems in Art History, no. 1 (2018): 43–48. http://dx.doi.org/10.17721/2519-4801.2018.1.03.
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Corazza, Michele, Fabio Tamburini, Miguel Valério, and Silvia Ferrara. "Unsupervised deep learning supports reclassification of Bronze age cypriot writing system." PLOS ONE 17, no. 7 (July 14, 2022): e0269544. http://dx.doi.org/10.1371/journal.pone.0269544.
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Ancient undeciphered scripts present problems of different nature, not just tied to linguistic identification. The undeciphered Cypro-Minoan script from second millennium BCE Cyprus, for instance, currently does not have a standardized, definitive inventory of signs, and, in addition, stands divided into three separate subgroups (CM1, CM2, CM3), which have also been alleged to record different languages. However, this state of the art is not consensually accepted by the experts. In this article, we aim to apply a method that can aid to shed light on the tripartite division, to assess if it holds up against a multi-pronged, multi-disciplinary approach. This involves considerations linked to paleography (shapes of individual signs) and epigraphy (writing style tied to the support used), and crucially, deep learning-based strategies. These automatic methods, which are widely adopted in many fields such as computer vision and computational linguistics, allow us to look from an innovative perspective at the specific issues presented by ancient, poorly understood scripts in general, and Cypro-Minoan in particular. The usage of a state-of-the-art convolutional neural model that is unsupervised, and therefore does not use any prior knowledge of the script, is still underrepresented in the study of undeciphered writing systems, and helps to investigate the tripartite division from a fresh standpoint. The conclusions we reached show that: 1. the use of different media skews to a large extent the uniformity of the sign shapes; 2. the application of several neural techniques confirm this, since they highlight graphic proximity among signs inscribed on similar supports; 3. multi-stranded approaches prove to be a successful tool to investigate ancient scripts whose language is still unidentified. More crucially, these aspects, together, point in the same direction, namely the validation of a unitary, single Cypro-Minoan script, rather than the current division into three subgroups.
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Immerwahr, Sara A. "A possible influence of Egyptian art in the creation of Minoan wall painting." Bulletin de correspondance hellénique. Supplément 11, no. 1 (1985): 41–50. http://dx.doi.org/10.3406/bch.1985.5267.
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Gill, Margaret A. V. "Some observations on representations of marine animals in Minoan art, and their identification." Bulletin de correspondance hellénique. Supplément 11, no. 1 (1985): 63–81. http://dx.doi.org/10.3406/bch.1985.5270.
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Catling, H. W. "The birth of the Fitch Laboratory." Annual of the British School at Athens 100 (November 2005): 407–10. http://dx.doi.org/10.1017/s0068245400021237.
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From 1960 onwards there was collaboration in ceramic analysis of Minoan and Mycenaean material between members of the British School at Athens and the Oxford University Research Laboratory for Archaeology and the History of Art. In 1974 this led to the establishment of the School's own Research Laboratory in Athens, thanks to the generosity of Dr Marc and Mrs Ismene Fitch, whose names the laboratory bears. Reference is made to other help and benefactions involved in the creation of the laboratory.
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Valentinová, Lucie. "Miniature Crowd Frescoes from Knossos." Journal of Mediterranean Archaeology 35, no. 2 (February 8, 2023): 168–97. http://dx.doi.org/10.1558/jma.25521.
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This study discusses prevailing interpretations of the miniature frescoes from Knossos as depictions of some sort of ritual or ceremony, located topographically in Knossos’s Central and West Courts. It revises the question of the narrativity of Minoan frescoes, based on the interpretive approach developed by Alpers in her exploration of seventeenth-century Dutch art and ‘visual culture’. Applying Alpers’s insights for Minoan frescoes allows for an original interpretation based on a formal analysis of their non-narrative devices of representation, namely (1) vertical perspective, (2) map-like composition and (3) suppressed focalisation. The study demonstrates that once their representational strategy is recognised as non-narrative, it is no longer possible to interpret the subject theme of the Knossian miniatures by applying the frequently used narrative analytical category of ritual as a transformative ‘event’. Instead, the operation of these devices focuses our attention on the performative dimension of viewing as a testament to the knowledge of the land and society and the specific way in which the Knossian miniature frescoes absorb their viewer into this performance.
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Foster, Karen Polinger. "Opium Art and Truffle Texts in the Aegean and Ancient Near East." Studies in Ancient Art and Civilisation 27 (December 22, 2023): 77–111. http://dx.doi.org/10.12797/saac.27.2023.27.04.
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From the third millennium BC on, the opium poppy was exploited by the civilizations of the Aegean and Near East. While the terms for it in the ancient languages of the region are still unknown, the distinctive features of the harvest-ready seed pod would seem to find reflection in numerous works of Minoan, Mycenaean, Mesopotamian, and related art. This paper proposes that the corpus of opium imagery is far more extensive than previously recognized, including pins, finials, jewelry, seals, vessels, and weapons. It would also seem that certain elite women played vital roles in ancient opium matters. As for the desert truffle, it thrives in the area’s arid and semi-arid ecosystems, where the opium poppy cannot. We have no truffle art, so far as can be determined, but its suggestive presence in cuneiform documents, among them the seven Mari letters collected here, may signal that it was prized for its ability to engender altered states of consciousness, in addition to its nutritional and pharmaceutical benefits.
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Michel, Nicoletta Antognelli. "WINGLESS GRIFFINS AMONG PAPYRUS PLANTS FROM NEOPALATIAL KNOSSOS? A RECONSTRUCTION PROPOSAL OF THE SEAL IMPRESSION CMS II8, 321." Annual of the British School at Athens 115 (August 25, 2020): 247–68. http://dx.doi.org/10.1017/s0068245420000088.
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This paper offers a new interpretation of the motifs preserved on the fragmentary Late Minoan (LM) I seal impression from Knossos CMS II8, 321, proposing a reconstruction of the original scene as two couchant overlapping griffins without wings among papyrus plants. If correct, the combination of all these elements is quite exceptional, since this scene would provide a unique reflection in glyptic art of the famous Throne Room decoration of Knossos, with its imposing wingless griffins immersed in a lush landscape of papyrus-reeds. Although a well-known ivory plaque from Mycenae displays a similar composition with a single, ‘classical’, winged griffin, no seal image seems to show also the wingless beast and the overlapping pose of two couchant griffins. The present investigation explores several parallels not only for this rare, yet well-attested, compositional scheme in Aegean art, but also for the figure of the wingless griffin. Both will be found in the Pylian palace decorative programme, which offers further griffins without wings – even in glyptic art – a meaningful parallel, since the interconnections between the Palace of Nestor and the Palace of Minos provide some of the most intriguing material in the study of Aegean imagery.
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Chapin, Anne P. "A re-examination of the Floral Fresco from the Unexplored Mansion at Knossos." Annual of the British School at Athens 92 (November 1997): 1–24. http://dx.doi.org/10.1017/s0068245400016609.
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Restudy of the fragments belonging to the LM IA Floral Fresco from the Unexplored Mansion at Knossos yields a more comprehensive reconstruction that focuses on the arrangement of the floral elements within their landscape setting and facilitates an examination of the composition within the context of Aegean art. The reconstruction suggests that the anonymous artist displays technical mastery and innovation which produce the unusual ‘anemone’, ‘frilled flower’, and ‘osier’ motifs, yet reveal an intimate knowledge of contemporary trends in both Minoan and Cycladic painting. Comparison with surviving fragments of landscape painting from the neighbouring Knossos town houses further suggests that LM IA artists actively participated in a competitive environment in which new pictorial motifs were invented to satisfy the demands of their patrons for novelty.
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Momigliano, Nicoletta, Laura Phillips, Michela Spataro, Nigel Meeks, and Andrew Meek. "A NEWLY DISCOVERED MINOAN FAIENCE PLAQUE FROM THE KNOSSOS TOWN MOSAIC IN THE BRISTOL CITY MUSEUM AND ART GALLERY: A TECHNOLOGICAL INSIGHT." Annual of the British School at Athens 109 (November 2014): 97–110. http://dx.doi.org/10.1017/s0068245414000094.
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This article presents the curatorial context of a newly discovered fragment of Minoan faience, now in the Bristol City Museum and Art Gallery (BCMAG), and the technological study conducted on this piece at the British Museum. It also discusses the British Museum study of comparable fragments, now in the Ashmolean Museum, belonging to the Town Mosaic from Knossos, an important and unique find brought to light during Sir Arthur Evans's excavations of the ‘Palace of Minos’ at the beginning of the twentieth century. Both the stylistic study and the analytical results suggest that the Bristol fragment is genuine, and most likely belonged to the Town Mosaic. The Bristol piece does not possess features that can advance our understanding of Crete in the Bronze Age, but its curious biography adds something to the history of collecting and the history of archaeology.
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Zoppi, Angela, Cristiana Lofrumento, Marilena Ricci, Emma Cantisani, Tiziana Fratini, and Emilio Mario Castellucci. "A novel piece of Minoan art in Italy: the first spectroscopic study of the wall paintings from Phaistos." Journal of Raman Spectroscopy 43, no. 11 (July 26, 2012): 1663–70. http://dx.doi.org/10.1002/jrs.4029.
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Khalifa-Gueta, Sharon. "Mother of Dragons." Eikon / Imago 11 (March 1, 2022): 79–92. http://dx.doi.org/10.5209/eiko.76756.
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Daenerys Targaryen’s metamorphosis scene is analyzed in this article, with accordance to the millennia old structure of the motif of “the woman and the dragon.” It is suggested in this article, that the visual manifestation of Daenerys in the HBO series Game of Thrones, is a reception of ancient Greco-Roma, and Early modern art. This article follows the iconography of four examples: the Minoan figurine of a priestess or goddess that holds serpents in her hands, Medea’s apotheosis on dragons-driven chariot from a vase painting, Saint Margaret wooden relic statue with the tiny dragon, and Cleopatra’s death by snakebites image. By following these examples an iconological line is drawn to connect between Daenerys visualization and the historic examples of the motif, demonstrating reception of not only visual issues but also concepts and meanings.
Understanding iconographic and iconological reception in Daenerys television image reflect on conscious and unconscious aspects of her character and the way her figure engages with the viewers.
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Angelakis, Andreas N., Jens Krasilnikoff, and Vasileios A. Tzanakakis. "Evolution of Water Technologies and Corresponding Philosophy and Sciences Focusing on the Hellenic World through the Millennia." Water 14, no. 19 (October 6, 2022): 3149. http://dx.doi.org/10.3390/w14193149.
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In this review, hydro-technological advancements in the Hellenic world throughout the millennia are considered in relation to the scientific developments and perceptions of the natural world articulated by Greek thinkers. Starting with the advanced hydro technologies of the Minoan civilization, this review presents the state-of-the-art evaluation of the hydro technologies in Greek historical contexts. More precisely, this review focus on how, when, and where modern hydro technologies developed based on ancient technological achievements, and subsequently when technological achievements were totally forgotten in specific periods, such as the Iron Age (ca 1200–800 BC), only to be reinvented or rediscovered in subsequent periods. In most cases, information has been collected from different sources and was cross-matched with each other. The results observed from the literature and material evidence are compiled and presented in the form of a critical review study. With a few examples, comparisons to hydrologic and hydraulic developments in other civilizations are considered and discussed.
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Morris, Christine. "Hands Up for the Individual! The Role of Attribution Studies in Aegean Prehistory." Cambridge Archaeological Journal 3, no. 1 (April 1993): 41–66. http://dx.doi.org/10.1017/s0959774300000718.
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Attribution studies, the identification of the work of individual artists, are a familiar aspect of art history, and have also been used to isolate individuals and workshops of the Aegean Bronze Age. This paper examines the methodological issues involved and argues that attribution is feasible for prehistoric material, albeit in only a limited way in comparison, for example, with Classical vase painting. It is further suggested that attribution should be viewed not as an isolated aesthetic pursuit, but be approached contextually, as an integral part of artefact analysis. In this way attribution studies can contribute towards the better understanding of the formation and development of style, the definition of closely contemporary groups of material, and the spatial distribution (and its significance) of the products of individuals. Two case studies are presented to illustrate this approach: Mycenaean pictorial pottery of the fourteenth-thirteenth centuries BC, and a contrasting group of material, clay figurines from the Minoan peak sanctuary of Atsipadhes.
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Кузнецова, І. О., О. В. Лільчицький, and М. О. Привалов. "Специфіка відображення теми спорту в творах античного мистецтва." Art and Design, no. 4 (February 15, 2021): 136–48. http://dx.doi.org/10.30857/2617-0272.2020.4.11.
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Aim of work is to identify sport reflection features in ancient art. The paper uses methods of systematization and updating of analytical information about the peculiarities of the reflection of elements related to sports in the styles of the ancient world. The accumulation, systematization and implementation of information is carried out by studying the specialized professional literature and sites depicting the reflection of elements related to sports in ancient art. The main reflections of sports life in ancient art are identified and characterized. There is a description of ancient art that reflects sporting events. A summary analysis of the elements related to sports in the objects of the ancient world. The most interesting in the context of modernity are the elements of joy in Cretan art, the emphasis on dynamism in the first period of Minoan art; didactic orientation of the image of sculptural and pictorial works of sports events. Special attention needs to be paid to objects that are the result of all-Hellenic holidays. The example of creation of art objects on an example of figurines, painting, a vase-painting, minting connected with acrobatic jumps through a bull is considered. The elements of active dynamics, up to the existence of sloping lines in vase-painting and paintings in certain periods, of passive dynamics in the "golden age of Pericles" are shown. Then the visual ideal of athletics was created. The generalization of the classical period does not correspond to the superdynamic modernity. The most interesting emotional facial expression in both sculpture and painting of the period of imperial Rome. Since the II century. B.C. the portrait of the athlete is more and more individualized. The study is based on the study of sport as historically formed in the form of special competitive activities and sports practice socio-cultural phenomenon that promotes the harmonious development of natural and social psychophysiological abilities of motor activity and moral and aesthetic qualities of man, which determines his sports activities. The paper shows the trends in the creation of sculptures, frescoes, reliefs, vase paintings in ancient art, which reflect the sport. Prospects for further research should be related to assessing the impact of various modern processes on the creation of art and design, based on clear characteristics of new materials, a deep understanding of existing and new technological processes, general global trends in society as a whole.
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Tikhonov, Dmitrii, and Elena Tikhonova. "Lyre shaped motif and its origins." Siberian Research 2, no. 2 (December 1, 2019): 74–84. http://dx.doi.org/10.33384/26587270.2019.02.009e.
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Lyre shaped ornament is a common motif of ornamental and folklore applied art. But, unfortunately, the origins of the lyre shaped motif are still not well investigated. In the paper we review the literature devoted to the study of the emergence and spread of a lyre shaped motif and analyze museum exhibits from catalogs and published sources. The aim of the study is to define the сenters of the lyre motif origin and the paths of its distribution. Material and methods. Article analyzes lyre shaped motifs in museum artifacts, folk arts and crafts using materials presented in published literature and catalogs of museum exhibits. A spiral motif originated in Egypt. The origins of the lyre motif in ancient Egypt are probably connected with the iconography of the Egyptian god of Hathor, who was depicted as a woman with a headdress decorated with lyre shaped horns and a solar disk between them. It should be noted that the tradition of depicting a human face with cow horns has connections with the Neolithic period of the Nile Valley, where cattle breeding arose in the 6-5th millennium BC. The first cases of using a lyre shaped motif occured in scarab-like seals of Egypt and Minoan culture. Artifacts with a lyre shaped motif were observed related, dating from the Minoan and Mycenaean periods, during to the period of classical Hellenistic Greece. A lyre shaped motif was spread along trade routes from Crete to the Danube, the Elbe, the shores of the Baltic Sea and, together with the Celts, penetrated into Britain, from the Greek colonies of the Black Sea to the Scythians. In the Asian part of the Eurasian steppes, this motif symbolized the image of the eagle totem animal depicted like a griffin, especially in the early Scythian and Hunnic period. The origins of the lyre shaped motif in the Asian steppe, apparently, were the ancient motifs “taotie” in China and “masks” in the Russian Far East. The popularity of the lyre shaped motif in the folk arts and crafts of the Turkic peoples was probably due to the spread of this motif within the Scythian community, when there was a cult of the eagle-like griffin and totem.
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Driessen, J. M. "Earthquake-Resistant Construction and the Wrath of the "Earth-Shaker"." Journal of the Society of Architectural Historians 46, no. 2 (June 1, 1987): 171–78. http://dx.doi.org/10.2307/990185.
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The writer investigates possible anti-seismic construction techniques used in Minoan architecture on Bronze Age Crete. The frequency of earthquakes in the Aegean seems to imply the presence of such techniques. Starting by noting the methods still in use in Turkey and other dangerous areas, the writer looks at the practice of projections and setbacks, the near absence of windows, room dimensions, roof and floor construction, the presence of partition walls, the size and number of stories, town planning, the presence of cornices and ring beams, and other construction details which helped to improve the anti-seismic capability of Minoan houses. Attention is given to the location of houses and to the question of whether or not the Minoans used these methods consciously. The writer believes they did, not only because of the frequency of these earthquakes but also because of the religious connotations and the existence of an architectural koiné in earthquake-stricken areas in the ancient Mediterranean and Near East, in contrast with Egypt.
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RUIJGH, CORNELIS J. "The source and the structure of Homer's epic poetry." European Review 12, no. 4 (October 2004): 527–42. http://dx.doi.org/10.1017/s1062798704000456.
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Homer's Iliad and Odyssey were created, probably in the second half of the 9th century BC, in the framework of the Greek epic tradition of oral formulaic poetry, which started in the Peloponnese in proto-Mycenaean times (c. 1600 BC). The epic verse, the dactylic hexameter, must have been taken over from the Minoan Cretans. Whereas most 19th century scholars were analysts, considering Homer's epics' conflations of older and more recent epic poems, most modern scholars are unitarians, recognizing the unity of both epics, thanks to modern insights in the nature of oral traditional poetry and to modern narratology. Although many modern scholars ascribe the Odyssey to a later poet than that of the Iliad, there are no convincing arguments against the Ancients' opinion that both epics are the work of one single poet called Homer. Both Iliad and Odyssey are characterized by the principle of ‘unity of action’, a principle not found in other ancient epic poetry. There are reasons to suppose that Homer learnt the art of epic versification in Smyrna, his native city, by listening to performances of Aeolic singers. Driven by Ionic self-consciousness he transposed the epic Aeolic Kunstsprache into Ionic, thus creating the so-called Homeric dialect. He could perform his monumental epics at great religious festivals and at the courts of princes. There is evidence that he gave performances in the island of Euboea, the only prosperous region of the contemporary Greek world, and that there his epics were eventually written down. Thus, Homer's epics are the end-point of the oral epic tradition and the starting point of written Greek and European literature.
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Hallager, Birgitta P. "Art and archaeology - (N.) Momigliano Ed. Knossos Pottery Handbook: Neolithic and Bronze Age (Minoan). (British School at Athens Studies 14). London: British School at Athens, 2007. Pp. 276, illus + CD. £85. 9780904887556." Journal of Hellenic Studies 129 (November 2009): 202–3. http://dx.doi.org/10.1017/s0075426900003633.
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Li, Zhenqiang. "New Outlooks on the Origin of Minnan-Style Cresting." Highlights in Art and Design 4, no. 2 (September 1, 2023): 9–14. http://dx.doi.org/10.54097/hiaad.v4i2.12248.
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To answer the question of whether the decorative craftsmanship of "Minnan-style" architecture has artistic value, the historical evolution of the decorative craftsmanship is examined in this study through three types of evidence: historical literature, historical images, and architectural history, thus inferring that the "Minnan-style" cresting art is divided into two major artistic features: the "Quanzhou style" and the "Chaozhou style," as well as the fusion of two crafts: "Porcelain-cutting Sculpture" and "Jiaozhi Pottery." The "Minnan-style" cresting originated from Quanzhou Port during the Song and Ming dynasties, which merged with the Chaozhou cresting style during the Kangxi period of the Qing Dynasty in the "Xianshui Temple, Taiwan County". The "Minnan-style" cresting art, which combines the ideas of ritual and music with inspiration from foreign art, was born from this.
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Adams, Ellen. "Art and Archaeology - (J.W.) Shaw Kommos. A Minoan Harbor Town and Greek Sanctuary in Southern Crete. American School of Classical Studies at Athens, 2006. Pp. 171, illus., maps, plans. £16.95, 9780876616598 (pbk); £31.99, 9780876616604 (hbk)." Journal of Hellenic Studies 127 (November 2007): 209–10. http://dx.doi.org/10.1017/s0075426900002251.
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MacDonald, Colin F., and Jan M. Driessen. "The Drainage System of the Domestic Quarter in the Palace at Knossos." Annual of the British School at Athens 83 (November 1988): 235–58. http://dx.doi.org/10.1017/s006824540002075x.
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The system is described in detail with reference to the first stone-by-stone plans and photographs of the interior. An analysis of function concludes that the main aim of the system when constructed in Middle Minoan IIA was to drain the Central Court; this remained its primary function until at least Late Minoan I. During the great building programme of Middle Minoan IIIA, the system was expanded to serve new Light Wells, with further additions before the south part of the drains was blocked sometime during Late Minoan I. Next, a stone U-shaped channel was installed to allow the north section to function; the destruction of Late Minoan IIIA:2 is likely to have caused the final blockage of the system.
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Dahlia, Putri, Ahmad Akmal, and Yuniarti Munaf. "RAGAM HIAS DAN FUNGSI BATIK MINANG NAGARI PANYAKALAN KABUPATEN SOLOK." Gorga : Jurnal Seni Rupa 7, no. 2 (October 11, 2018): 134. http://dx.doi.org/10.24114/gr.v7i2.10976.
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AbstrakPenelitian ini berjudul “Ragam Hias dan Fungsi Batik Minang Nagari Panyakalan Kabupaten Solok”, membahas tentang bentuk motif dan fungsi batik Minang, serta dampak yang ditimbulkan dengan adanya batik tersebut terhadap masyarakat. Sebagai produk budaya, batik Minang mempunyai nilai strategis dalam sistem budaya dan perekonomian sebagian masyarakat. Nilai budaya dan filosofi yang dikandung dipahami melalui simbol berupa motif hias pada batik. Penelitian ini menggunakan metode kualitatif. Teori estetis Edmund Burke Feldman menyangkut struktur, gaya, dan fungsi karya seni, digunakan dalampembahasan mengenai Batik Minang. Feldman membagi fungsi seni menjadi tiga bagian, yaitu fungsi personal (personal function of art), fungsi sosial (social function of art) dan fungsi fisik (physical function of art). Perkembangan batik Minang dewasa ini cenderung dipengaruhi aspek ekonomi dan sosial budaya. Begitu pula sistem keahlian dilakukan melalui pengembangan terhadap produk yang lebih kreatif dan variatif dalam bentuk maupun fungsi. Hal ini menjadi salah satu faktor penopang keberlangsungan seni batik Minang ini. Di era global ini batik Minang dikembangkan dan dimanfaatkan sebagai unsur estetik modern dengan maksud memberi nuansa eksotisme suatu penampilan, beberapa di antaranya berkembang menjadi produk industri seni sebagai material kebutuhan dan permintaan konsumen luarProvinsi Kata Kunci:Batik Minang, Fungsi, Estetika, Panyakalan AbstractThis research entitled "Decorative and Function Batik Minang in Panyakalan Solok Regency", discusses the form of motif contained in batik Minang art, and the impact that arises with the art of batik on society. As a cultural product, Minang batik art also has strategic value in cultural system and economy of some society. The value of culture and philosophy conceived through the symbol of decorative motifs on this batik art.This research uses qualitative method. Aestetic theory Edmund Burke Feldman about the structure, style, and function of artwork, used in the discussion of batik Minang. Feldman devides the function into three parts, that is personal function of art, fungsi sosial the social function of art, and physical function of art.The development of batik Minang today tend to be influenced by economic and socio-cultural aspects.Similarly, system expertise is done through the development of products that are more creative and varied in form and function. This became one of the factors supporting the continuity of batik Minang art. In this global era batik Minang is developed and utilized as an aesthetic element of modern interior with the intention to give feel of exoticism an appearance, some of which developed into art industry product as material requirement and demand of foreign consumer. Keywords: Batik Minang, Function, Aesthetic, Panyakalan
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Crouwel, J. H., and C. E. Morris. "THE MINOAN AMPHOROID KRATER: FROM PRODUCTION TO CONSUMPTION." Annual of the British School at Athens 110 (July 21, 2015): 147–201. http://dx.doi.org/10.1017/s0068245414000197.
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This article focuses on a distinct type of clay vessel which formed part of both the Late Minoan and the Mycenaean repertoire: the amphoroid krater.In contrast to the Mycenaean version of the shape, with its often elaborate decoration of chariots and other pictorial designs, the Minoan amphoroid krater has up to now not received much attention. The present paper intends to redress this imbalance by exploring the origin and development of the Minoan amphoroid krater, its function(s) and its relationship with its Mycenaean counterpart.
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Knappett, Carl. "Tradition and innovation in pottery forming technology: wheel-throwing at Middle Minoan Knossos." Annual of the British School at Athens 94 (November 1999): 101–29. http://dx.doi.org/10.1017/s0068245400000538.
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This paper examines ceramic evidence from Middle Minoan Knossos in an attempt to chart the introduction and development of wheel-throwing technology in Minoan pottery. The technique of wheel-throwing comes into its own in Middle Minoan I B, coeval with the construction of the first palaces and a number of other major changes. Although there are some indications that there could have been some degree of internal evolution towards this point, it also appears that outside contacts with the Near East may have contributed to the innovation process. The main aim is to elucidate the dynamics of choice that led to the adoption and subsequent development of the wheel-throwing innovation. Whilst the use of the wheel is generally considered as a technical development, it is argued here that, in the initial stages, its adoption by certain Minoan potters was as much influenced by socio-political as by technical factors.
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Bunimovitz, Shlomo, Zvi Lederman, and Eleni Hatzaki. "KNOSSIAN GIFTS? TWO LATE MINOAN IIIA1 CUPS FROM TEL BETH-SHEMESH, ISRAEL." Annual of the British School at Athens 108 (November 2013): 51–66. http://dx.doi.org/10.1017/s0068245413000087.
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Two Late Minoan IIIA1 cups were recently found in the excavations at Tel Beth-Shemesh, Israel. They were part of a larger assemblage of local Late Bronze IIA (first half of the fourteenth century bc) drinking and eating vessels sealed under a destruction layer in one room of a large edifice, presumably a ‘palace’. A commemorative scarab bearing the name of Amenhotep III and related to the first Jubilee (Sed festival) in his thirtieth regnal year was found alongside the cups, providing further chronological evidence. This article examines the Late Minoan IIIA1 cups from Beth-Shemesh within their Aegean context and emphasises their close affinity with comparable cups from the palace of Knossos, catalogued and republished here. The Tel Beth-Shemesh cups are the second occurrence – after Sellopoulo Tomb 4 – of Knossian Late Minoan IIIA1 pottery found together with Amenhotep III's scarab. This new evidence strengthens the likelihood of some chronological overlap between Late Minoan IIIA1 and the reign of this Pharaoh. The article also considers the biography of the two Minoan cups, as social agents within the intricate network of the Late Bronze Age palatial gift exchange in the eastern Mediterranean. While it is possible that the cups came to Beth-Shemesh directly from Knossos, another viable option is that they arrived as a gift from the Egyptian court. The two rare Late Minoan IIIA1 Knossian cups could have reached Egypt on the occasion of Amenhotep III's much-discussed official embassy to the Aegean – including Knossos – and then been sent as royal gifts to the ruler of Beth-Shemesh.
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Salgarella, Ester. "IMAGINING CRETAN SCRIPTS: THE INFLUENCE OF VISUAL MOTIFS ON THE CREATION OF SCRIPT-SIGNS IN BRONZE AGE CRETE." Annual of the British School at Athens 116 (September 30, 2021): 63–94. http://dx.doi.org/10.1017/s0068245421000034.
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What's in a sign? What is there to be ‘seen’ in a sign? This paper sets out to explore the sources and processes of sign creation in the scripts of the Bronze Age Aegean, namely Cretan Hieroglyphic and Linear A, in use on Crete from c. 1900–1600 bce (Middle Minoan IB/II–Middle Minoan III) and c. 1800–1450 bce (Middle Minoan IIA–Late Minoan IB) respectively. Linear B, developed out of Linear A to write Greek (c. 1450–1190 bce), will also be touched upon where relevant. By investigating contemporary iconographic production and putting forward a methodological framework for the analysis and interpretation of visual motifs, a theory will be tentatively proposed for understanding the process(es) of selection of sign shapes, their incorporation into a script as script-signs and their transmission from one script onto a graphically related one. The underlying research questions leading this enquiry are the following: how did ‘images’ find their way into script(s) to become ‘signs’ in the Aegean context? Are we able to reconstruct such a process to shed light on the origin of script-signs?
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Crowther, Charles. "A Note on Minoan Dikta." Annual of the British School at Athens 83 (November 1988): 37–44. http://dx.doi.org/10.1017/s0068245400020621.
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Evidence is adduced to show that the toponym Dikta and its adjectival form Diktaios, which have been applied to a variety of locations in Central and Eastern Crete, belong properly to the ancient site currently being reinvestigated by the British School at Palaikastro. Alternative identifications are attributed to the confusion of the various traditions concerning the birth and upbringing of Cretan Zeus which becomes evident in ancient sources in the Hellenistic period. The invention of a Diktaian cave is shown to be the product of a similar process of conflation. A further element of confusion has been added by the citation of a Hellenistic boundary text. The correct identification of Dikta provides a toponymic continuity linking the phases of occupation of the archaeological site at Palakastro.
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Morero, Elise. "MYCENAEAN LAPIDARY CRAFTSMANSHIP: THE MANUFACTURING PROCESS OF STONE VASES." Annual of the British School at Athens 110 (April 28, 2015): 121–46. http://dx.doi.org/10.1017/s0068245415000039.
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The first substantial corpus of developed and complex stone vases emerged on the Greek mainland in the shaft graves of Mycenae (Middle Helladic III – Late Helladic I) and was certainly, in large part, of Minoan origin. However, a Mycenaean industry appeared in the Late Helladic III period, which suggests a link with Minoan technology. Indeed, there is an extremely strong possibility that expatriate craftsmen had gradually transmitted their knowledge to local Mycenaean apprentices. A technological study of a corpus of 24 stone vases from Mycenae, dated to the Late Helladic I/II–III, enables the identification and reconstruction of the manufacturing processes and techniques involved in mainland production. It appears to be the case that a great part of the Mycenaean know-how derives from contact with Minoan craftsmanship. However, if a large number of technical elements (use of tubular drilling for the hollowing process, production of the vessels in several parts) may come from a Minoan heritage, the Mycenaeans seem to have quickly developed their own approach – with their own technological emphases, serving purely Mycenaean forms. The vase, based on separately made elements, was a Minoan approach but became properly a mainland concept, which appeared far less commonly in other regions of the eastern Mediterranean. Similarly, the single-tool approach developed for the drilling process (for hollowing the interior of the vessels and for cutting the inlay decoration of the exterior), entirely based on the use of the tubular drill, is purely a native one and is uncommon among eastern Mediterranean vessel traditions. A technological study indicates also the possible coexistence of different types of organisation in the Mycenaean workshops. Thus, the manufacturing processes used, as well as the organisation of the production, are distinct from those of other eastern Mediterranean centres, including Crete.
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Knappett, Carl. "Art and Archaeology - (M.H.) Wiener, (J.L.) Warner, (J.) Polonsky, (E.E.) Hayes Eds.Pottery and Society. The Impact of Recent Studies in Minoan Pottery; Gold Medal Colloquium in Honor of Philip P. Betancourt. Boston: Archaeological Institute of America, 2006. Pp. xxii + 157, illus. £32. 9781931909143." Journal of Hellenic Studies 128 (November 2008): 247. http://dx.doi.org/10.1017/s0075426900000896.
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Jeffra, Caroline. "A RE-EXAMINATION OF EARLY WHEEL POTTING IN CRETE." Annual of the British School at Athens 108 (August 7, 2013): 31–49. http://dx.doi.org/10.1017/s0068245413000038.
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The manner in which Minoan potters first employed the pottery wheel has become a matter of some debate. A growing body of work has taken a sceptical approach to the transition from hand-building to wheel-throwing techniques in a number of contexts, finding that the idea of a technological transition of this nature is not supported by the ceramic evidence. Although a small number of publications have addressed this topic as it relates to Minoan Crete, in light of the evidence from contemporary areas around the Mediterranean and Near East it has become necessary to establish firmly what types of techniques and methods were being used as potters first employed this tool. In order to assess the types of primary forming techniques used by potters during the periods between Middle Minoan IB (when the wheel was first regularly used) and Late Minoan IA (by which time vessels of all sizes were regularly formed with some type of rotation), an experimental type set was produced. Analysis was conducted by correlating the macroscopic features produced with specific forming methods, and then comparing those features against material from Knossos, Palaikastro and Myrtos–Pyrgos. The results of that comparison challenge the established notion that potters had developed wheel-throwing skills during these early periods. Instead, a more complex picture emerges which reveals a process of gradual acquisition of combination techniques (wheel and coils). The pattern of uptake indicates a level of cohesion across the potting community of central and eastern Crete, irrespective of the geographical distance between the three sites studied.
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Evely, D. "The Potters' Wheel in Minoan Crete." Annual of the British School at Athens 83 (November 1988): 83–126. http://dx.doi.org/10.1017/s0068245400020657.
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The large numbers and variety of forms of this object type that have gradually accumulated in the last half century permit now of an overall review, drawing in part on earlier and more individual accounts. Following the Catalogue, five broad typological classes are discussed, analysed in detail, and manufacture and method of employment deduced, as far as possible. Geographical and chronological distribution is looked at. The Pre-Palatial period sees only the use of ‘mats’ – turned manually merely as the potter desired in building up his pot by hand; centrifugal force is harnessed at the perioid of the creation of the First Palaces – the freely-revolving wheel appears. Rapidly, before the construction of the Neo-Palatial buildings, a wheelhead incorporating a fly-wheel effect was devised, probably set low on the ground, pivoting in a fixed basal socket.
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Bietak, Manfred. "‘Rich beyond the dreams of Avaris: Tell el-Dabca and the Aegean world—a guide for the perplexed’: A response to Eric H. Cline." Annual of the British School at Athens 95 (November 2000): 185–205. http://dx.doi.org/10.1017/s0068245400004639.
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In his article inBSA93 (1998) 199–219, Eric Cline comments on the recent discoveries at the site of Tell el-Dabca, where palatial quarters of the late Hyksos Period and the early 18th Dynasty have been discovered. For Aegean scholars the most spectacular finds from these excavations were numerous fragments of wall paintings which were identified as Minoan by experts working at the excavations and visiting colleagues. Cline particularly criticises the change of dating given to the paintings which were attributed by the excavators originally to the Hyksos period (1992) and afterwards to the Early 18th Dynasty (1995). Doubts have also been expressed about the validity of the new date and the identification of the paintings as Minoan or Aegean. This response tries to show: (1) the context of the paintings in the 18th Dynasty palace quarters in the light of recent research, (2) why a dating to the Hyksos period was originally considered, (3) why the paintings should be identified as Minoan and (4) that Cline failed to make himself knowledgeable enough about the archaeology of the site of Tell el-Dabca to give a serious opinion on the excavations and material.
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Wilson, David E. "Knossos 1955–1957: Early Prepalatial Deposits from Platon's Tests in the Palace." Annual of the British School at Athens 105 (November 2010): 97–155. http://dx.doi.org/10.1017/s0068245400000381.
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This article presents a selection of early Prepalatial pottery and a clay sealing found in tests made by Nikolaos Platon between 1955 and 1957 during a programme of conservation and restoration work in the palace. The pottery not only adds to the ceramic characterization of the Early Minoan I-Early Minoan IIB phases at Knossos, but also provides new information about the extent and scale of use of the early Prepalatial settlement. In addition, ceramic imports identified in the Early Minoan II deposits add to the growing evidence for inter-regional contacts both with the rest of Crete (including the Mesara and Gulf of Mirabello) and the Cyclades. The clay sealing, from an Early Minoan IIB context, is among the earliest yet found on Crete. Altogether these tests provide valuable new evidence for the early history of Prepalatial Knossos.Το άρθρο αυτό παρουσιάςει ένα μέρος της πρώιμης προανακτορικής κεραμεικής και ένα πήλινο σφράγισμα από τις δοκιμαστικές τομές του Νικόλαου Πλάτωνα μεταξύ 1955 και 1957 κατά τη διάρκεια ενός προγράμματος συντήρησης και αναστήλωσης στο ανάκτορο της Κνωσού. Το υλικό αυτό συμβάλλει στην περιγραφή των διακριτικών γνωρισμάτων της κεραμεικής από την Πρωτομινωική Ι έως και την Πρωτομινωικη ΙΙΒ φάση στην Κνωσό και δίνει νέες πληροφορίες αναφορικά με την έκταση και το βαθμό χρήσης του πρώιμου προανα-κτορικού οικισμού. Επιπλεον, η αναγνώριση εισηγμένης κεραμεικής στους αποθέτες της Πρωτομινωικής Π προσθέτει περαιτέρω στοιχεία για υπερ-τοπικές επαφές της Κνωσού τόσο με την υπόλοιπη Κρήτη (συμπερι-λαμβανομένης της Μεσαράς και του Κόλπου του Μιραμπέλλου) όσο και με τις Κυκλάδες. Το πήλινο σφράγισμα, από ένα Πρωτομινωνικό ΙΙΒ ανασκαφικό σύνολο, συγκαταλλέγεται ανάμεσα στα πρωιμότερα που έχουν βρεθεί μέχρι σήμερα στην Κρήτη. Συνολνκά αυτές οι δοκιμαστικές τομές παρέχουν πολύτιμα νέα στονχεία για την πρώιμη ιστορία της προανακτορικής Κνωσού.
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Suci Amalia, Sri Indah, and Afifah Asriati. "MANAJEMEN SANGGAR SENI LAKON GERAK MINANG DI NAGARI BARINGIN KABUPATEN TANAH DATAR." Jurnal Sendratasik 10, no. 2 (March 30, 2021): 10. http://dx.doi.org/10.24036/jsu.v1i1.112011.
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The Management of Lakon Gerak Minang Art Studio in Baringin Village, Tanah Datar Regency. A Bachelor Thesis. Sendratasik Department. FBS. Universitas Negeri Padang. This research aims to describe and explain the management system of Lakon Gerak Minang Art Studio in Baringin Village, Tanah Datar Regency. This research belongs to a qualitative research using descriptive method. The main instrument in this study was the researcher itself and was assisted by supporting instruments such as writing tools and cameras. The data types used in this study were primary and secondary data. The data were collected through literature studies, observations, data analysis, and data collection. The results show that Lakon Gerak Minang art studio has a management consisting of managing, planning programs, and dividing various activities, tasks and responsibilities. Organizational processes are interconnected with each other. If one process is not executed properly, the other processes will not well. Therefore, every process must be done properly so that the studio management system can run well. Thus, it makes Lakon Gerak Minang art studio able to compete with other studios in Tanah Data Regency. The management system run by Lakon Gerak Minang art studio belongs to the line organization (a form of organization where the delegation of authority is directly vertical and entirely given from the leader to the subordinates). The advantage of this line organization is that all decisions can be resolved directly because in a certain situation the leader becomes one of the main targets in solving problems. The weakness of this organization is the problems cannot be resolved quickly due to the fact that the leader is not there. Thus, the management of this organization is to solve problems which exist in the studio.The head of the studio becomes the first person to complete and resolve the problems.
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Liu, Qinjie, and Ke Zhang. "A Study of Folk Aesthetic Culture of Minnan Ancestral Hall in the Context of Big Data and Artificial Intelligence." WSEAS TRANSACTIONS ON COMPUTER RESEARCH 12 (October 25, 2023): 75–85. http://dx.doi.org/10.37394/232018.2024.12.6.
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In the past, people with the same family name gathered in a region were made into a family, and each family had its family temple for worshipping ancestors and remembering their forefathers, and such family temples with special significance were called ancestral halls. The southern Min region has experienced more hardships compared to the northern region, so it pays more attention to the family and places an important place on the transmission of blood ties. The values of people are subtly changed in this environment, and through the inculcation of generations, the people of southern Fujian internalized the values inherited from this architecture of ancestral halls into their aesthetic consciousness. The purpose of this study is to explore the impact of technological development on the evolution of regional aesthetic characteristics in the context of Big data and Artificial intelligence, starting from the folk aesthetic culture of Minnan ancestral halls. The architecture of Minnan ancestral halls is characterized by the adaptation of ancestral hall architecture to the climate of Southern Fujian, the unique architectural framework of ancestral halls, the use of vibrant colors in Minnan ancestral halls, and the Minnan ancestral halls. The art of stone carving and aesthetic literacy are two major aesthetic features of Minnan's ancestral halls. The number of Minnan ancestral halls is huge, and to analyze their aesthetic characteristics it is necessary to use the ability of Big data storage to analyze massive data and to extract some representative ancestral hall buildings from the database of Minnan ancestral halls for analysis. The various aesthetic features of the database are clustered and analyzed through Big data analysis technology to summarize the representative aesthetic features of Minnan ancestral halls. At the same time, some people in the Minnan area were selected as the research subjects, and the data related to the folk aesthetic consciousness of the people were obtained using a questionnaire survey, and then the "aesthetic elements" and "aesthetic consciousness" were input into the artificial intelligence training model by combining Big data and Artificial intelligence technology. The relationship between elements is explored through artificial intelligence decision-making. Finally, this conclusion is illustrated in four dimensions. From the dimension of color, the residents of Minnan mostly use relatively bright colors to decorate their houses, which is consistent with the use of red and black colors in Minnan's ancestral halls. In terms of shape, the architectural style of Minnan ancestral halls also influenced the development of later buildings, some of which evolved from Minnan ancestral halls as prototypes. In terms of materials, the Minnan ancestral halls were built with a combination of wood and stone, while later generations only increased the proportion of stone. In terms of culture, the development of folk aesthetic consciousness is echoed by the core values of blood and clan ties transmitted by the Minnan ancestral halls left.
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Cadogan, Gerald. "SINCLAIR HOOD (1917–2021)." Annual of the British School at Athens 116 (November 8, 2021): 399–415. http://dx.doi.org/10.1017/s0068245421000101.
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Sinclair Hood (1917–2021) was one of the two leading archaeologists of Minoan Crete of the second generation after Sir Arthur Evans, the other being Nikolaos Platon (1909–92). He spent much of his life researching the history of Knossos, including a major programme of excavations during his Directorship of the British School at Athens (1954–62) to test Evans’ chronological system for Knossos and Crete in the Bronze Age. He also directed excavations at prehistoric Emporio in Chios, and was versed in the archaeology of Central Europe and the Near East, as well as every aspect of Aegean prehistory, on which he wrote profusely. In Greece he revolutionised methods for British archaeologists and trained many students who later became project directors. His monumental study The Masons’ Marks of Minoan Knossos crowned his career. It was published in 2020, when he was 103.
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Driessen, Jan. "Revisiting the Minoan palaces: ritual commensality at Sissi." Antiquity 95, no. 381 (March 23, 2021): 686–704. http://dx.doi.org/10.15184/aqy.2021.30.
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Fabbricotti, Emanuela. "Silphium in Ancient Art." Libyan Studies 24 (1993): 27–33. http://dx.doi.org/10.1017/s0263718900001941.
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AbstractSilphium is the source of Cyrene's wealth. It is possible that the first colonists who landed in Cyrenaica realized the many qualities of the plant and decided at once to take advantage of it. Maybe, the Minoans knew about it too, as Sir Arthur Evans found some inscribed tablets from Cnossos with symbols very like those represented on later Cyrenaican coins.Silphium is represented on coins possibly as the symbol of Cyrenaica and a branch of silphium is also shown held by a female divinity in clay statuettes. A rare coin shows a female figure sitting on a high stool, holding out her arms towards a plant of silphium. I think that she is not a goddess, but Cyrene itself, guardian of silphium and of the land where silphium grows and I suggest that a limestone head found in Lamluda could belong to a statue of the same type.After the archaic period, there are many legends related to silphium and also to Aristaeus who is said to have discovered the plant. After the royal period, the symbol of silphium loses its first position on coins and is nearly forgotten in art, but in the 2nd century AD it appears again in two groups of capitals, one in Beida and one in Cyrene. It is a sort of deliberate revival of the old legends and old iconographies that wants to confirm and demonstrate that the great political power of Cyrene (due to silphium) has returned even if the plant of silphium itself has become very rare.
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Urbani, Bernardo, and Dionisios Youlatos. "A new look at the Minoan ‘blue’ monkeys—ADDENDUM." Antiquity 94, no. 376 (August 2020): 1120. http://dx.doi.org/10.15184/aqy.2020.100.
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DICKINSON, O. T. P. K. "COMMENTS ON A POPULAR MODEL OF MINOAN RELIGION." Oxford Journal of Archaeology 13, no. 2 (July 1994): 173–84. http://dx.doi.org/10.1111/j.1468-0092.1994.tb00037.x.
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