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Stylistic Diversity and Diacritical Feasting at Protopalatial Petras: a Preliminary Analysis of the Lakkos Deposit

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FORUM ARTICLE Stylistic Diversity and Diacritical Feasting at Protopalatial Petras: A Preliminary Analysis of the Lakkos Deposit DONALD C. HAGGIS Abstract in a phase immediately prior to the foundation of the This paper presents an overview of an assemblage of palace.* Middle Minoan (MM) IB pottery from a closed deposit known as the “Lakkos” at the Minoan palace of Petras in eastern Crete. The various ware groups are discussed with introduction the aim of improving our understanding of the Proto- palatial ceramic sequence in this part of Crete and the Specialized pottery production has been viewed as function of stylistic variation in a palatial context. Recent one component of emergent state society on Crete studies of the earliest palaces have shifted discussion away in the Middle Minoan (MM) IB period (ca. 1900 from the traditional view of the palace as an economic B.C.E.) and is linked to other archaeological evidence center by emphasizing evidence for regionally diverse 1 sociopolitical configurations during the period. The MM of developing sociopolitical complexity. Although IB–IIB palace is viewed not as a monolithic institution changes in ceramic systems have constituted only controlling contiguous territories but as a venue for the one of many identifying features of the early palaces, articulation of dominant ideologies in contexts suggest- some forms of pottery have been given distinctly elite ing a wide range of sociopolitical interactions within and or particularly palatial designations. Central Cretan outside the palace. Current approaches consider vari- ous forms of data, including elite or distinctly palatial Polychrome Ware, the so-called Kamares Ware, is the 2 styles of pottery, which are taken as symbolic referents best-documented example. The special function, for- in public rituals. My analysis of the Petras Lakkos pottery mal complexity, and aesthetic elegance of painted and is informed by this paradigm shift: I argue that styles of modeled design elements distinguish Kamares Ware pottery and stylistic relationships between pottery, seals, within Protopalatial drinking and dining assemblages. hieroglyphic documents, and peak sanctuary figurines are related to the visual expression of the identities of The palatial and cult contexts of the deposition and competing corporate groups. Drinking sets in different the evidence for extra-island exchange have led to ware groups identify distinct social units or ritual roles the characterization of Kamares as an elite product, * The Lakkos pottery study, “Cultural Regionalism and Pa- ers for the AJA. The project was funded by the University of latial Power in Middle Bronze Age Crete,” was conducted by North Carolina at Chapel Hill, Department of Classics ( James permission of the Petras excavation director, M. Tsipopou- Penrose Harland and Berthold Lewis Ullman Funds, 1997– lou, and the 24th Ephorate of Prehistoric Antiquities. I wish 2001), and grants from the UNC University Research Council to thank M. Tsipopoulou for inviting me to study the Lakkos (1997), the Curtiss T. Brennan and Mary G. Brennan Foun- assemblage and for facilitating the fi eldwork; V. Apostolakou dation, Inc. (1999), and the Institute for Aegean Prehistory and the late N. Papadakis (24th Ephorate) for their support (1999–2001). Versions of this paper were presented at the My- of the study seasons; T. Brogan, director of the INSTAP SCEC, cenaean seminar (University of London, Institute of Classical for permitting the use of the INSTAP SCEC facilities; D. Faul- Studies Research Seminars 2005–2006) and the University of mann (INSTAP SCEC) and R. Docsan for inking the draw- Toronto (2006); reports on the Lakkos have been presented at ings and offering advice on methods of illustration; M. Eaby, the 102nd Annual Meeting of the Archaeological Institute of K. Bishop, K. Wile (University of North Carolina at Chapel America (Haggis 2001a) and at the International Cretological Hill), and J. Marranca (Marranca Engineering, PLLC), whose Congress (Haggis 2001b); see also Haggis 2001c. assistance and collaboration were invaluable; and P. Betan- 1 E.g., Cadogan 1986; Cherry 1986; Branigan 1987; MacGil- court for inviting my participation in Temple University’s Ka- livray 1987, 1990; Walberg 1987a, 1987b. mares Ware Symposium (Betancourt 2002). Thanks are also 2 Betancourt 1985, 90; Walberg 1987b, esp. 284; cf. Day and owed to E. Anderson, C. Knappett, N. Momigliano, and Y. Pa- Wilson 1998, 356. padatos for much useful input, and the anonymous review- 715 American Journal of Archaeology 111 (2007) 715–75 716 DONALD C. HAGGIS [AJA 111 a prestige good produced and distributed by a central More recently, a restructuring of the analysis— authority in the first palaces.3 Scholars conceived of a materially and theoretically—of the Protopalatial state hierarchy of ceramic forms with a central Cretan pa- combined with the results of petrographic studies has latial core and a “provincial” periphery of entangled recognized the potential pitfalls of associating regional regionalism and rustic simplicity.4 ceramic spheres with palatial centers or palatial con- In response to this reductionist stylistic dichotomy, trol of production. Displaying concrete evidence for more recent studies of Protopalatial pottery have the south-central provenance of much of the Knossian aimed to reconstruct the stratigraphic details and Kamares Ware, Day and Wilson showed that the pal- chronological problems of local ceramic sequences 5 ace was an importer and (possibly ritual) consumer while recognizing both the existence of elite styles of high-quality tablewares—prestige goods brought outside the assumed production zones of Classical to the palace and then used and displayed in public Kamares and the need to reevaluate the Knossian venues of elite interaction involving drinking and din- and Phaistian sequences.6 Three principal concepts of ing.12 In addition, Knappett’s nuanced reevaluation of Protopalatial ceramic systems have been established. the ceramic evidence for Cadogan’s Lasithi state led First, stylistic regionalism suggests a chronologically him to remodel the relationship between Pyrgos and and geographically diverse range of forms and wares Malia, visualizing the sites as parts of a decentralized that needs to be understood in terms of local cultural segmentary state in which the parallel appearance of sequences established within stratigraphically defined similar pottery types at Malia and Pyrgos was indepen- contexts.7 Second, locales of production and contexts dently driven by a local symbolic discourse in venues of of consumption demonstrate two independent pro- elite consumption (fig. 2).13 The stylistic links between cesses that may not be connected directly to a manage- Myrtos and Malia fine tablewares, first recognized by rial authority in the palaces.8 And third, some regional Cadogan and Poursat during excavations at Pyrgos styles may be independent responses to the Kamares and Quartier Mu,14 are rooted not in the economic or central Cretan tradition.9 centralization of a Maliote authority but in the pal- Cherry viewed Kamares production as part of a so- ace’s ideological influence. Local power was publicly cial and political process reflecting competitive emu- articulated and reinforced through symbolic connec- lation between interacting autonomous centers of tions to the Malia center. One important vehicle for parallel emerging palace-states.10 With this peer-polity this social display was fine pottery used in contexts of perspective, the discussion shifted away from the pala- ritual consumption. Thus, our notions of a palatial tial/provincial and elite/rustic to a view of pottery as economic and political territory had to be reevalu- cultural production informed by social interaction on ated for Knossos and Malia in the wake of evidence a regional scale. This important regional perspective for dynamic patterns of intra- and interstate inter- was developed further by Cadogan, who introduced action; the result was a less strictly centralizing and the idea of a culturally and politically unified region hierarchical ordering of sociopolitical configurations defined by a similar culture that was centered at Ma- in the landscape. Pottery used in ritual or ritualized lia and extended south to Myrtos Pyrgos and at least contexts of public interaction has become an impor- as far east as the Ierapetra isthmus (fig. 1).11 Distinct tant piece of evidence for reconstructing social and spheres of cultural interaction began to fill out the political systems in the first palaces.15 map of Crete, adding detailed political and geographic While regional ceramic spheres, chronologies, and dimensions to the picture of ceramic regionalism. patterns of exchange in central Crete and the Lasithi 3 Walberg 1976, 1983, 1987a, 2002. 6 Walberg 1983, 1987b; Cherry 1986; MacGillivray 1987, 4 Walberg’s (1983) stylistic analysis of the Kamares Ware 1990; Cadogan 1988, 96; 1994, 64–5. Group and her subsequent book on regional forms and styles 7 E.g., Knappett 1999a, 2006. created in the literature a conceptual center-periphery mod- 8 E.g., MacGillivray 1987; Day and Wilson 1998. el, with palaces at Knossos and Phaistos defi ning the notional 9 Following Walberg 1983. boundaries of the Kamares “style,” rationing its features, and 10 Cherry 1986, esp. 35–8. limiting its dissemination; see also Walberg 1987b; cf. MacGil- 11 Cadogan 1988, 1990, 1995; cf. Poursat 1987. livray 1987; Day and Wilson 1998; Day et al. 2006, 54. 12 Day and Wilson 1998.
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