Minoan Religion

Σκοπός αυτής της εργασίας είναι αφενός η αναφορά στα βασικά χαρακτηριστικά των ιερών κορυφής και αφετέρου η διερεύνηση της ύπαρξης ή όχι κοινών τοπογραφικών στοιχείων που θα μπορούσαν να εξηγήσουν την επιλογή των συγκεκριμένων θέσεων για λατρευτικούς σκοπούς.

Dieses Buch wird für jeden interessant sein, der die Geschichte der Antiken Welt liebt und schätzt, besonders die Geschichte des Antiken Griechenlands. Vor Ihnen werden die Attribute der hellenischen Kulte lebendig und verständlich werden und die Antike Griechische Philosophie wird klar.

Even after a century of focused investigation, Minoan iconography presents numerous challenges to scholarship. Lacking literary and historical sources, the subjects of this strikingly naturalistic and graceful art form remain persistently anonymous. Divine beings cannot be reliably distinguished from humans playing priestly roles, and only a few mythical monsters can be recognized from one composition to another. Academic literature on the topic is abundant, yet consensus on even the most important points of identification (e.g., the 'Great Goddess' problem) is lacking. This essay investigates the methodological problems confronting the study of Minoan iconography, reviews current approaches to the subject, suggests directions for future research.

The Griffin Warrior Ring No. 2 is a gold Minoan-style engraved signet ring from Pylos dating to the Late Helladic IIA (1580–1490 BCE). The ring’s bezel depicts a seascape with a columnar tree shrine flanked by palm trees situated on a rocky outcrop. Five elaborately dressed female figures stand on either side of the shrine. The tree shrine features a net pattern in the space between its stone or brick piers. It is proposed that this represents a fishing net and that the structure is a sea altar dedicated to an unnamed Minoan tree goddess akin to the Levantine Asherah. The ring’s hoop is decorated with cockle shells, further emphasising its marine theme. It will be argued that the iconography alludes to marine food resources, practical and luxury textile fibres, sea trade, transculturality and cult, and is testament to the importance of the sea in the Aegean Bronze Age.

Μυστική συνάντηση – 3.500 χρόνια πριν από σήμερα, η αισθητική των ανθρώπων είχε φτάσει σε τέτοια επίπεδα, ώστε να είναι αναγκαία η αποτύπωση των εκφράσεων των προσώπων σε κομψοτεχνήματα μόλις 1-2 εκατοστών!! Πέρα από την απαράμιλλη τεχνική και το μεράκι του άγνωστου καλλιτέχνη αυτής της γόνιμης Μινωμυκηναϊκής εποχής, τί να πρωτοθαυμάσει κανείς..!

Copyright©2019 Ippolito Marmai
C'è una specie di rumore di fondo, che disturba continuamente la lettura di chi vuole addentrarsi seriamente nello studio e nell'analisi del disco di Phaistós (cfr. Stefani, M. 2015: 273-294). Tralasciamo pure le innumerevoli presunte "decifrazioni" della scritta geroglifica ivi impressa, sorvoliamo sulle fantasie al riguardo e sulla sicumera di qualche accademico, detentore di inoppugnabili (?) verità scientifiche, ma permettetemi di fare almeno il punto sull'origine e sull'autenticità del disco di Phaistós. Per farlo cercherò di soffermarmi su alcuni aspetti, in base a quanto accertato da diversi studiosi. So bene che per la stragrande maggioranza degli archeologi può sembrare superfluo puntualizzare un argomento del genere, ma vale forse la pena ritornare sui ricorrenti accenni all'articolo di Jerome M. Eisenberg sul presunto falso del secolo scorso (The Phaistos Disk: one hundred year old hoax? Minerva vol. 19 n. 4 July/August 2008: 9-24). La teoria è stata poi pomposamente presentata al Congresso degli Antiquari londinesi come "International Phaistos Disk Conference" (31 October-1 November 2008). Vedremo che quanto supposto da Eisenberg non è soltanto infondato, ma palesemente illogico, falsificato dall'intrinseca contraddizione con le scoperte archeologiche effettuate negli anni successivi alla scoperta del Pernier: ascia di Arkalochóri (con incisi due segni del disco), anello d'oro di Mavro Spelio (scritta spiraliforme), pietra per libagioni di Malia (due segni del disco), vaso di Knosso con impresso il segno 12 del disco, impronta su cretula da Phaistós con impresso il grafema 21 del disco. La pseudo analisi illustrata al congresso degli antiquari della perfida Albione (2008), oltre a richiamare vecchie e sorpassate teorie dell'Evans sui popoli del mare e sulle tombe licie, nonché attingere alla bibliografia di alcuni autori a dir poco discutibili, raggiunge il colmo della fanta-psicologia credendo di calare l'asso del piombo di Magliano (noto per la sua scritta spiraliforme, in caratteri etruschi). Secondo Eisenberg, il Pernier si sarebbe ispirato al reperto etrusco per creare il disco di Phaistós, mosso da invidia e gelosia delle scoperte fatte dal suo maestro Halbherr e dall'inglese Evans. Diavolo di un Pernier, da tipico italiano avrebbe giocato sporco? Fortuna vuole che egli non fosse messicano, altrimenti Eisenberg lo avrebbe accusato di essersi ispirato nientemeno che al calendario solare azteco (composto da circoli di glifi).

Aristotle University of Thessaloniki. School of Philosophy. Department of History and Archaeology. Postgraduate Degree Programme (MA) in Prehistoric Archaeology. 2019.
Thesis Supervisor: Professor Emeritus Stelios Andreou

Abstract
The aim of this thesis is to present and analyze the iconography of the consumption of food and drink in the Aegean in the Bronze Age. Initially, we research the international literature centered around the study of food and drink, and try to explain how it shaped the interest of the archaeologists who dealt with the Prehistoric Aegean. Also, we describe the characteristics and the results of the practice of consumption, specifically the consumption taking place in festive episodes, known as feasts, in human societies, and we present the evidence pointing to the significance that these episodes held for the societies of the prehistoric Aegean, especially for the palatial ones. Then, the available pictorial material, consisting of frescoes, scenes on pottery, and scenes on seals and sealings, is presented extensively. The interpretive approach of the iconographic material is vital, and in the present thesis is supported by the available archaeological evidence and by the Linear B texts. It is suggested that the iconography of food and drink consumption was used by local elites to express, represent, and supplement the practice of the consumption itself. By placing these images in strategically designed and symbolic spaces, the elite aimed to direct the feelings of the spectators, to strengthen its own prestige and to ensure its continuity over time.

My purpose here is to consider why archaeologists are driven by the unnatural compulsion to explore notions of other times and places by appearing to produce, consolidate and promote memoranda. We take comfort in our perceptions of time and space as normal, or innate, but they most certainly are not.

Riassunto e revisione degli appunti e ricerche pluriennali sul disco di Phaistòs e i geroglifici cretesi.
- Nel labirinto: il disco di Festo. Rapporto di "fine secolo" sui geroglifici cretesi (febbraio 1992; 1 luglio 1992)
- Leiroperge. La funzione determinativa del "trattino obliquo", l'identificazione delle vocali e dei nomi propri nella scrittura geroglifica di Festòs (8 maggio 1973)

Аннотация: Рассмотрена культурная связь между религией и самоназванием Греции, показа-но происхождение термина «Эллада» (Hellas), религиозные представления древних греков и влияние этих понятий на искусство. Тайна меандра, аканта и пальметты. Summary: The cultural connection between religion and the self-name of Greece is considered, the origin of the term «Hellas» (Hellas), the religious representations of the ancient Greeks and the influence of these concepts on art are shown. The secret of the meander, acanthus and palmettes.

Аннотация. Статья о исследовании сосудов на фреске из захоронения Рихмера, приближенного фараона Тутмоса III и сопоставлении этих сосудов с сосудами из Дании ,Микен , бронзового века., деревянным ковшом с Урала эпохи бронзового века, находками из России эпохи железного века и русскими традиционными ковшами из дерева. Ключевые слова. Тутмос III, Рихмер, Крит , Микены, ковши, рукоятки ковшей в виде головы коня и утки, деревянные ковши из России, Abstract. Article on research vessels in the fresco of the burial of Rihmer, a confidant of the Pharaoh Thutmose III and comparison of these vessels with vessels from Denmark ,Mycenae , the bronze age. wooden bucket from the Urals bronze age finds from Russia's era of the iron age and Russian traditional ladles made of wood .